VA • SoulShaker Vol.1 al 7

 

Rare Earth • Only Get Ready!

 

Rare Earth estaba vinculada con el sello de la Motown que tenía su mismo nombre. Una temprana versión de la banda, se formó en 1961, en la ciudad de Detroit, bajo el nombre de The Sunliners y durante varios años, se movieron en el terreno del soul y blues. En 1967 se refundaron como Rare Earth y extendieron sus influencias al entonces naciente jazz rock (en la contraportada de su primer disco, se reivindicaban como cercanos a Blood, Sweat & Tears).1​

La formación de Rare Earth en esta primera época, era la siguiente: Gil Bridges (vocalista, saxo, flauta y percusión), Rod Richards (guitarra y voz), John Persh (bajo y voz), Kenny James (órgano y piano) y Pete Riviera (batería y voz).

En 1970, se incorpora el percusionista Ed Guzmán (congas) y, en 1971, Ray Monette sustituye a Richards en las guitarras y Mark Olson se hace cargo de los teclados, tras la marcha de James.

Nuevos cambios en 1975, incorporando un segundo saxofonista y vocalista, Jerry LaCroix, que había estado en Blood, Sweat & Tears, y haciéndose cargo del bajo y batería, Reggie McBride y Barry Eugene Frost, respectivamente. Más tarde, Rivera retornaría al grupo, en su segunda etapa, sustituyendo a Frost.

Después de su disolución, dos de los miembros fundadores Gil Bridges y Peter Rivera, continuaron en el mundo de la música manteniendo una agria disputa sobre los derechos del nombre de la banda. Hoy en día Gil Bridges lidera una nueva banda con el nombre de Rare Earth, a la que durante un tiempo también estuvo ligado Ray Monette. Por su parte Peter Rivera, en compañía de una serie de músicos provenientes de otras antiguas bandas de rock, lidera una formación denominada The Classic Rock All Stars.
https://es.wikipedia.org/wiki/Rare_Earth

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Rare Earth is an American rock band from Detroit, Michigan. According to Louder, "Rare Earth’s music straddles genres and defies categorisation, slipping seamlessly between the two seemingly disparate worlds of classic rock and R&B." The band was signed with Motown's Rare Earth record label. Although not the first white band signed to Motown, Rare Earth was the first big hit-making act signed by Motown that consisted only of white members. (None of the previously signed all-white acts, The Rustix, The Dalton Boys, or The Underdogs, had any hits.)

1960s
The group formed in 1960 as The Sunliners and changed its name to Rare Earth in 1968. The band felt the name "Rare Earth" was more in keeping with the names other bands were adopting, such as Iron Butterfly, more "with it."

After recording an unsuccessful debut album, Dream/Answers, on the Verve label in 1968, the group was signed to Motown in 1969. The band was one of the first acts signed to a new Motown imprint that would be dedicated to white rock acts. The record company did not have a name for the new label yet and the band jokingly suggested Motown call the label "Rare Earth". To the band's surprise, Motown decided to do just that.

The main personnel in the group were Gil Bridges, saxophone, flute, vocals; Peter Hoorelbeke (aka Peter Rivera), lead vocals, drums; John Parrish (aka John Persh), bass guitar, trombone, vocals; Rod Richards (born Rod Cox), guitar, vocals; and Kenny James (born Ken Folcik), keyboards. The group's recording style was hard-driving.

In late 1969 Edward "Eddie" Guzman (congas and assorted percussive instruments) was added to the group.

During 1969 the group contributed music to the film Generation that starred David Janssen and Kim Darby. An accompanying soundtrack album was released, but quickly withdrawn after the film failed commercially, with only a small number of copies sold. Several tracks were remixed and included on the next LP, Ecology, in 1970. The soundtrack album was reissued as a limited edition LP for Record Store Day 2020. The issue was pressed on hot pink vinyl and limited to a run of 2,000 copies.

1970s
Rare Earth had a number of Top 40 hits in 1970–71, including remakes of The Temptations' "(I Know) I'm Losing You" (which was used in the skateboarding video It's Time) and "Get Ready". Each was more successful than The Temptations original, with "Get Ready" being their biggest hit, peaking at #4 on the US Billboard Hot 100 chart. This disc sold over one million copies and received a gold record awarded by the Recording Industry Association of America. The group gained a bit of notoriety when it was mentioned dismissively in Gil Scott-Heron's 1970 poem, "The Revolution Will Not Be Televised", which included the line, "The theme song [to the revolution] will not be written by Jim Webb, Francis Scott Key, nor sung by Glen Campbell, Tom Jones, Johnny Cash, Engelbert Humperdinck, or the Rare Earth."

In 1971 Richards left due to musical differences, and James, weary of the group's increased touring schedule, also departed. Ray Monette (guitar) and Mark Olson (keyboards, vocals) joined to replace them.

The group's hits from late 1970 to early 1972 were "Born To Wander" (#17), "I Just Want to Celebrate" (#7), and "Hey, Big Brother" (#19). There were no significant hits thereafter. Nevertheless, the band continued to record into the 1990s.

By 1972 Motown had decided to relocate from Detroit to Los Angeles and Rare Earth soon followed suit. Persh, however, decided not to make the move and was succeeded in the band by Mike Urso (Persh later died from a hospital staphylococcal infection on January 27, 1981).

Their 1973 album, Ma, written and produced by Norman Whitfield, is considered one of their best overall works, and features their version of "Hum Along and Dance". Unfortunately, it didn't sell all that well and produced no hits.

Rare Earth was the opening act at California Jam festival in Ontario, California on April 6, 1974. The festival attracted over 250,000 people, and the band appeared alongside 1970s rock groups Black Sabbath; Emerson, Lake & Palmer; Deep Purple; Earth, Wind & Fire; Seals and Crofts; Black Oak Arkansas and Eagles. Portions of the show were broadcast on ABC Television in the U.S., exposing the band to a wider audience.

In 1974 the group began working with Motown producer Frank Wilson on their next project. But in his autobiography, "Born to Wander", Hoorelbeke described his having objections when Wilson okayed a song contributed by Olson without running it by the others first. Hoorelbeke thought the song was not up to the band's usual standards and Wilson ended up being taken off the project.

In July 1974 the group divided. Mike Urso left the group along with Hoorelbeke and they formed a new band, HUB, with Rare Earth's 1970–1972 co-producer, Tom Baird, using the initials of their surnames (Hoorelbeke, Urso and Baird). HUB went on to record two albums for Capitol Records ("HUB" and "Cheata'") but came to a sudden end in November 1975 after Baird was killed in a boating accident.

The others (minus Olson who left to join the backup band for Jennifer Warnes) decided to continue as Rare Earth and brought in new players: Jerry LaCroix (vocals, sax, harmonica, formerly of The Boogie Kings, Edgar Winter's White Trash and Blood, Sweat & Tears), Paul Warren (guitar, backing vocals), Bartholomew ("Frosty") Eugene Smith-Frost (formerly with Sweathog and Lee Michaels, drums), Reggie McBride (ex-Stevie Wonder, bass) and Gabriel Katona (keyboards).

The new lineup recorded Back to Earth in 1975 and went back on the road. However, both Paul Warren and Frosty left during this tour and new drummer Chet McCracken (who would go on to join the Doobie Brothers) was hired to finish out their 1975 tour. The band then recorded Midnight Lady (minus Katona and McCracken), which was released in 1976. Frank Westbrook replaced Katona on keyboards, whilst McCracken was not replaced, instead session musician Ollie Brown handled percussion duties for Midnight Lady. But neither of these releases sold as well as the band had been used to and they soon found themselves bogged down and unable to tour when they brought a lawsuit against former member Hoorelbeke, falsely claiming that he'd tried to make off with the group's name and retirement monies. The lawsuit was eventually settled in Hoorelbeke's favor and he was given a settlement.

In late 1976, a former Motown vice president, Barney Ales, an earlier champion of Rare Earth, returned to the company to head up one of their new offshoot labels, Prodigal Records. He made an offer to the group to reunite with Peter Hoorelbeke. The 1972–74 membership of the band (Hoorelbeke, Bridges, Urso, Olson, Monette and Guzman) were scheduled to record a new album on Prodigal. However, Monette and Olson did not agree to the terms and abstained. Session players Dan Ferguson (guitar) and Ron Fransen (keyboards) were brought in instead to play on Rarearth, which was produced by James Anthony Carmichael (who later had success with The Commodores and Lionel Richie). It was released in 1977 but failed to reach expectations.

Later in 1977, the group reassembled with Chicago-based producer John Ryan (who worked with Styx and others) to begin work on two new albums. This time, Monette and Olson agreed to join in and the results were Band Together and Grand Slam, both released in 1978 and featuring more of a late 1970s disco sound, with the former providing the Bee Gees-penned hit "Warm Ride", which peaked at #39. Other than the one solitary hit, neither album was a big seller and the band soon found themselves without a home. Gap Band bassist Robert Wilson contributed to some of the tracks on Band Together.

In June 1979, Urso left the band again. On his recommendation, and after hearing several bass players, the group recruited bassist Ken Johnston, who joined the group's road tours for two years until June 1981. Johnston had just completed a stint with jazz singer Maxine Weldon and had rejoined Las Vegas comedian/songster Kenny Laursen. He interrupted his tour with Laursen to join Rare Earth in Florida.

1980s and 1990s
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Former Motown writer Dino Fekaris, who'd penned the band's hits "I Just Want to Celebrate" and "Hey Big Brother", was next to step back into the group's life in 1980. He'd just come off back to back successes with Gloria Gaynor and Peaches & Herb and had won a Grammy for Gaynor's huge hit I Will Survive. RCA expressed interest in the band's new project and gave them an advance to go ahead and start recording. The project was originally to be titled King of the Mountain, with the title track slated to be the theme of a 1981 movie of the same name that starred Harry Hamlin. But the movie people passed on the song, and when the record was done, RCA was not happy with Fekaris' production, so they passed as well. This album, retitled Tight & Hot, saw a very limited release in 1982 in Canada only.

By the summer of 1981, Mike Urso had returned to Rare Earth after a two-year absence, but he left again in mid-1983, and has not returned to the band since then. Tim Ellsworth was then brought in as new bassist/vocalist in September 1983. By the tail end of that year, Peter Hoorelbeke was gone from the band as well after disagreements with Gil Bridges. (Hoorelbeke went on to form The Classic Rock All-Stars in 1992.) Drummer Tony Thomas replaced Hoorelbeke on drums. After Hoorelbeke's departure, Ellsworth and Olson took over lead vocals. By that time most of the members of the band had moved back to Detroit, and the group continued to tour playing mostly clubs despite the lack of a recording contract.

Personnel shuffles abounded in the mid-80s. In September 1984 Bob Weaver took over the drum throne and played with the group into 1985. He was temporarily succeeded by Bob Brock, whose professional name was Bobby Rock (not Bob Rock, the famous Hard rock/Heavy metal producer from Canada), but returned only to be replaced by Jerry LeBloch in mid-1985. Also in September of '84, Andy Merrild replaced Tim Ellsworth as bassist until the end of June 1985. Ellsworth then returned and toured with the group until the end of August of '85. The group's road manager, Randy "Bird" Burghdoff, took over as Rare Earth's bassist in September 1985 and has remained in that position ever since. Mark Olson was let go in 1986 after increasing personal and substance abuse troubles. (Olson died on April 14, 1991, at the age of 41, from liver disease.) Rick Warner was then rolled in as the band's new keyboardist and Wayne Baraks, who was brought in in 1987 on rhythm guitar, took over much of the lead vocals as well.

In the late 80s and early 90s the personnel changes slowed down somewhat as things stabilized and the band found itself in demand to play on "oldies" bills with other acts of the 60s and 70s.

Drummer Dean Boucher replaced LeBloch on drums in 1989 and RE signed with the small foreign label Koch International and began work on a new album. The result was Different World (released in February 1993) which was a collection containing a few covers of older songs and new material. It was mostly overlooked by the public and not even issued in the U.S.

On July 29, 1993, the band suffered the loss of another member when long time percussionist Eddie Guzman (age 49) died at his home in Howell, Michigan.

The group kept going, though, and brought in new drummer Floyd Stokes Jr., who also took over for the departing Boucher, and took on lead vocal duties too after guitarist Baraks pulled out of the group in 1994.

Other than Mike Bruner's succeeding Rick Warner in January 1998 and Ivan Greilich's filling in for Ray Monette for five years (2004–2009), the lineup has been stable overall during the last decade or so.

Rare Earth continues to perform at corporate events and on the oldies circuit. Bits from their recordings have been used as samples on recordings as diverse as Beck's "Derelict", UNKLE, and DJ Shadow's "GDMFSOB (feat. Roots Manuva - U.N.K.L.E. uncensored version)", Black Sheep's "Try Counting Sheep", Peanut Butter Wolf's "Tale of Five Cities", Scarface's "Faith", NWA's "Real Niggaz Don't Die" and Eric B. and Rakim's "What's Going On".

2000 and beyond
Their hit "I Just Want to Celebrate" has been used in US-wide advertising campaigns by Ford Motor Company, AT&T Corporation, and Nicoderm.

In 2005, Rare Earth was voted into the Michigan Rock and Roll Legends Hall of Fame.

Tha album A Brand New World' was released on CD in 2008 on Rare Earth Music.
https://en.wikipedia.org/wiki/Rare_Earth_(band)

www.rareearth.com ...

Bahama Soul Club • Bohemia After Dawn

 

 

Kicking around for fifteen years in the inter-continental Soul Jazz scene, Portuguese based outfit The Bahama Soul Club treats the audience to purest sunshine on their new album "Sundub Society"! This is the group's sixth studio LP, which finds its spirit on the coasts of the Algarve, where it was recorded.
A commitment to a colourful community and inspired by the blissful energies of the sun drenched coast and the multicultural verve of tattooed wave riders, spiritual seekers, rainbow healers, mystic maidens and dreadlocked beauties, .... and of course the funky smell of sandy flip flops.
Lush arrangements painted with sun-soaked brushes, captivating hangout vibes, shuffling bits of Reggae, woven threads of 70s roots, traditional rhythms and beats and sounds of the South Western Algarve.
Sincere, artistic, full of spirit and definitely unique. No striving for the worldly charts. An album recorded mainly with the local legends, stoned troubadoures, poetic pirates and tough rebels.
The songs were born from a vague idea after the release of "Bohemia After Dawn", the last album on which a few artist friends from the Algarve had already contributed.
There is always a special magic in the neighborhood when sunny midday jams morph to sundown sessions to party-till-dawn skanks. We then just put those jams on tape. So, ten sundubby love songs to 'Oh, those sandy beaches!' The SUNDUB SOCIETY, my lovely family at the End Of The World: Josephine Nightingale, Tiago Saga, Ally Garrido, Naomi Falcon, Cutty Wren, Hedvig Larsson, Chicks On Beer, etc. …  

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Pateando durante quince años en la escena intercontinental del Soul Jazz, el equipo portugués Bahama Soul Club deleita al público con el sol más puro en su nuevo álbum "Sundub Society". Este es el sexto LP de estudio del grupo, que encuentra su espíritu en las costas del Algarve, donde fue grabado.
Un compromiso con una comunidad colorida e inspirada por las energías dichosas de la costa bañada por el sol y el entusiasmo multicultural de los jinetes de olas tatuados, buscadores espirituales, curanderos del arcoíris, doncellas místicas y bellezas con rastas .... y, por supuesto, el olor funky de las chanclas de arena.
Exuberantes arreglos pintados con pinceles bañados por el sol, cautivadoras vibraciones de lugares de reunión, barajando fragmentos de Reggae, hilos tejidos de raíces de los 70, ritmos tradicionales y ritmos y sonidos del suroeste del Algarve.
Sincero, artístico, lleno de espíritu y definitivamente único. Nada de luchar por los gráficos mundanos. Un disco grabado principalmente con las leyendas locales, trovadores apedreados, piratas poéticos y rebeldes rudos.
Las canciones nacieron de una idea vaga después del lanzamiento de "Bohemia After Dawn", el último álbum en el que ya habían contribuido algunos artistas amigos del Algarve.
Siempre hay una magia especial en el vecindario cuando las soleadas mermeladas del mediodía se transforman en sesiones al atardecer para festejar hasta el amanecer. Luego simplemente grabamos esos atascos. Entonces, diez canciones de amor de sundubby para ' ¡Oh, esas playas de arena!'La SOCIEDAD SUNDUB, mi encantadora familia en el Fin del Mundo: Josephine Nightingale, Tiago Saga, Ally Garrido, Naomi Falcon, Cutty Wren, Hedvig Larsson, Chicks On Beer, etc. …

facebook.com/bahamasoulclub ...

The New Mastersounds • Ten Years On

 

 

Herbie Hancock • Takin' Off

 

Review by Steve Huey
Herbie Hancock's debut as a leader, Takin' Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note's prototype hard bopper Horace Silver. Yet while Hancock could be just as funky and blues-rooted as Silver, their overall styles diverged in several ways: Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect, Takin' Off is among Hancock's most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy "Watermelon Man," which became a Hancock signature tune and a jazz standard in the wake of a hit cover by Latin jazz star Mongo Santamaria. Hancock's original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too (if not quite hit material); all have their moments, but particular highlights include the ruminative ballad "Alone and I," the minor-key "The Maze" (which features a little bit of free improvisation in the rhythm section), and the bluesy "Empty Pockets." The backing group includes then up-and-coming trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. All in all, Takin' Off is an exceptional first effort, laying the groundwork for Hancock to begin pushing the boundaries of hard bop on his next several records.
https://www.allmusic.com/album/takin-off-mw0000191931
https://www.herbiehancock.com/biography-full-page/

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Reseña de Steve Huey
El debut de Herbie Hancock como líder, Takin ' Off, reveló a un compositor y pianista capaz de equilibrar sofisticación y accesibilidad, algo en la línea del prototipo de hard bopper de Blue Note, Horace Silver. Sin embargo, aunque Hancock podía ser tan funky y con raíces en el blues como Silver, sus estilos generales divergían de varias maneras: Hancock era más ligero y cerebral, un poco más aventurero en sus armonías y más propenso a romper sus solos con un ritmo (en lugar de usarlos para crear uno). Entonces, incluso si, en retrospectiva, Takin ' Off se encuentra entre los álbumes más convencionales de Hancock, muestra a un joven estilista ya sorprendentemente maduro para su edad, y uno que puede interpretar las formas establecidas con espíritu e imaginación. Caso en cuestión: el simple y pegadizo "Watermelon Man", que se convirtió en una melodía característica de Hancock y un estándar de jazz a raíz de una exitosa versión de la estrella del jazz latino Mongo Santamaría. La versión original de Hancock es el clásico hard bop de Blue Note: riffs de piano sueltos y funky y declaraciones solistas ajustadas y enfocadas. Las otras composiciones también son memorables y están bien construidas( si no son un material muy exitoso); todos tienen sus momentos, pero los aspectos más destacados incluyen la balada rumiosa "Alone and I", la tonalidad menor "The Maze" (que presenta un poco de improvisación libre en la sección rítmica) y el blues " Empty Pockets."El grupo de apoyo incluye al entonces prometedor trompetista Freddie Hubbard, el saxofonista tenor Dexter Gordon, el bajista Butch Warren y el baterista Billy Higgins. Con todo, Takin ' Off es un primer esfuerzo excepcional, sentando las bases para que Hancock comience a superar los límites del hard bop en sus próximos discos.
https://www.allmusic.com/album/takin-off-mw0000191931
https://www.herbiehancock.com/biography-full-page/


www.herbiehancock.com ...
www.herbiehancock.com/music ...

James Brown • Nothing but Soul

James Brown was and will always be a true legend in every sense of the word. He will be missed by millions but his influence on music, culture and the countless number of lives he touched will carry on for decades to come.

Mr. James Brown's dynamic showmanship remains timeless. His style has been celebrated throughout generations. As one of the most sampled artists to date, he has more honors attached to his name than any other performer in music history.

Mr. Brown is a three-figure hitmaker with 114 total entries on Billboard's R&B singles charts and 94 that made the Hot 100 singles chart. Seventeen of these hits reached number one, a feat topped only by Stevie Wonder and Louis Jordan. Over the years, while maintaining a grueling touring schedule, James Brown amassed 800 songs in his repertoire. With his signature one-three beat, James Brown directly influenced the evolutionary beat of soul music in the Sixties, funk music in the Seventies and rap music in the Eighties. I

James Brown's life history contains many triumphs over adversity.

He was born in South Carolina during the Great Depression. As a child, he picked cotton, danced for spare change and shined shoes. At 16, he landed in reform school for three years where he met Bobby Byrd, leader of a gospel group and life-long friend. Mr. Brown tried semi-pro boxing and baseball, but a leg injury put him on the path to pursue music as a career.

James Brown joined his friend Bobby Byrd in a group that sang gospel in and around Toccoa, Georgia. After seeing Hank Ballard and Fats Domino in a blues revue, Byrd and Brown were lured into the realm of secular music. Naming their band the Flames, they formed a tightly knit ensemble of singers, dancers and multi-instrumentalists.

Mr. Brown instilled the essence of R&B with recordings under the King and Federal labels throughout the Sixties. With albums such as “Live at the Apollo”, Mr. Brown captured the energy and hysteria generated by his live performances. People who had never seen him in person could hear and feel the excitement of him screaming and hollering until his back was soaking wet. Convinced that such an album would not sell, King Records refused to produce the album.

Mr. Brown put up his own money and recorded the performance at the Apollo Theater in 1962.

Released nearly a year later, “Live At The Apollo” went to Number Two on Billboard's album chart, an unprecedented feat for a live R&B album. Radio stations played it with a frequency formerly reserved for singles, and attendance at Mr. Brown's concerts mushroomed.

As the leader of the James Brown Revue (The J.B.'s), James Brown sweated off up to seven pounds a night through captivating performances. His furious regimen of spins, drops, and shtick such as feigning a heart attack thrilled crowds. The ritual donning of capes and skintight rhythm & blues became part of his personal trademark as a performer.

Mr. Brown's transformation of gospel fervor into the taut, explosive intensity of rhythm & blues, combined with precision choreography and dynamic showmanship, defined the direction of black music from the release of his first R&B hit (”Please Please Please”) in 1956. In 1965, Brown scored his first Top 10 pop single with “Papa's Got A Brand New Bag,” and the hits kept coming one after another for the next decade.

The gospel and blues structure of his early records gave way to rhythmic vocals and a complex funk sound. His innovations during this period had a profound influence on popular music styles around the world.

James Brown's status as “The Godfather of Soul” remains undiminished. He continues to influence new generations of fans who often hear his funk grooves as samples on rap recordings. A charter member of the Rock and Roll Hall of Fame, Mr. Brown added to his collection of accolades when he received a lifetime achievement Grammy Award in 1992. James Brown passed away December 25, 2006.

THE BANDS:
James Brown has had the privilege of working with numerous talented people over the years. Many played in the bands that supported Mr. Brown throughout his career.

The Famous Flames Mr. Brown’s first band was the Gospel Starlighters, a quartet led by his friend Bobby Byrd. In 1952, the Starlighters had a raw southern gospel style. Their style later evolved into a Rythm and Blues sound. With this transition, they took on a new name - the Avons.

Under the influence of such Rock and Roll acts as Hank Ballard and the Midnighters, Fats Domino, and others, the group became known as the Flames.The band members that made up the Flames included James Brown, Bobby Byrd, Sylvester Keels, Doyle Oglesby, Fred Pullman, Nash Knox, Roy Scott and (later on guitar) Nafloyd Scott. Each band member sang, danced, and played an instrument.

For the original Flames lineup of 1956, James Brown played the drums, while Bobby Byrd played the piano. Many members came and left the band over the years, but Bobby Byrd remained Mr. Brown's sideman for the next three decades. Federal Records signed the Famous Flames (as they were now called) in 1956. It was under the Federal label that “Please Please Please” became their first hit single, and sold over a million copies. James Brown was now considered to be the leader of the group.

In 1957, after the surprise retirement of Little Richard, James Brown played with the Upsetters and the Dominions. James Brown filled Little Richard’s remaining bookings and recruited new band members from the Dominions.

Although James Brown and the Flames continued to make records for Federal, they did not top the charts again for three years. In 1958, “Try Me” became the band’s first number one R&B record. In 1962, James Brown recorded “Live at the Apollo”, which reached number two on the R&B charts. As James Brown evolved as a musician, his gospel and blues style gave way to the creation of a new musical genre - funk. Weakened by frequent break-ups and style changes, the Famous Flames and James Brown performed together for the last time in 1964.

The JB’s To push his funk sound to new level, James Brown formed the James Brown Revue - a performing group complete with dancers, emcee and a show-stopping stage band called the J.B.’s.Talented horn players, such as Fred Wesley and Maceo Parker, formed the backbone of the band.

With the addition of Bootsy Collins and other young musicians, James Brown’s band developed a new rhythmic bass sound creating the dynamic music that brought James Brown to the R&B forefront.

The J.B.’s created new arrangements of James Brown songs. For example, “Give It Up, Turn It Loose” evolved into “Get Up I Feel Like Being a Sex Machine.” The fans loved the new sound, which formed the legend behind the magic of the J.B.’s.

The list of influential musicians that have worked with James Brown is extensive. After leaving the James Brown band, many band members have moved on to obtain their own success in the music business. For example, Fred Wesley and Maceo Parker left the J.B.’s to join Parliament/Funkedelic.

The women who sang in the James Brown Revue formed the James Brown Original Funky Divas and released records of their own throughout the 60’s and 70’s.

Others artists have recorded albums and singles produced and written by James Brown. The most notable of these artists include Fred Wesley & The JB's, Maceo & The Macks, Bobby Byrd, and Lyn Collins. Other artists produced by James Brown include Vicki Anderson, Hank Ballard, Yvonne Fair, James Crawford, Marva Whitney, The Dapps, Alfred “Pee Wee” Ellis and the Above Average Black Band (A.A.B.B.).
http://jazzbluesnews.com/2018/05/03/james-brown-american-icon-video/

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 James Brown fue y será siempre una verdadera leyenda en todos los sentidos de la palabra. Millones de personas lo echarán de menos, pero su influencia en la música, la cultura y el incontable número de vidas que tocó continuará durante las próximas décadas.

El dinámico espectáculo del Sr. James Brown sigue siendo intemporal. Su estilo ha sido celebrado a través de generaciones. Como uno de los artistas más sampleados hasta la fecha, tiene más honores ligados a su nombre que cualquier otro intérprete en la historia de la música.

El Sr. Brown es un creador de éxitos de tres cifras con 114 entradas totales en las listas de singles de R&B de Billboard y 94 que llegaron a la lista de Hot 100 singles. Diecisiete de estos éxitos alcanzaron el número uno, una hazaña que sólo superaron Stevie Wonder y Louis Jordan. A lo largo de los años, mientras mantenía un agotador calendario de giras, James Brown acumuló 800 canciones en su repertorio. Con su característico ritmo de uno-tres, James Brown influyó directamente en el ritmo evolutivo de la música soul en los sesenta, la música funk en los setenta y el rap en los ochenta. I

La historia de la vida de James Brown contiene muchos triunfos sobre la adversidad.

Nació en Carolina del Sur durante la Gran Depresión. Cuando era niño, recogía algodón, bailaba por monedas y lustraba zapatos. A los 16 años, aterrizó en un reformatorio durante tres años donde conoció a Bobby Byrd, líder de un grupo de gospel y amigo de toda la vida. El Sr. Brown intentó el boxeo semiprofesional y el béisbol, pero una lesión en la pierna le puso en el camino de la música como una carrera.

James Brown se unió a su amigo Bobby Byrd en un grupo que cantaba gospel en Toccoa, Georgia, y sus alrededores. Después de ver a Hank Ballard y Fats Domino en una revista de blues, Byrd y Brown fueron atraídos al reino de la música secular. Llamando a su banda "Las Llamas", formaron un conjunto muy unido de cantantes, bailarines y multi-instrumentistas.

El Sr. Brown inculcó la esencia del R&B con grabaciones bajo los sellos King y Federal a lo largo de los sesenta. Con álbumes como "Live at the Apollo", el Sr. Brown capturó la energía y la histeria generada por sus actuaciones en vivo. La gente que nunca lo había visto en persona podía oír y sentir la emoción de sus gritos y chillidos hasta que su espalda se empapaba. Convencido de que un álbum así no se vendería, King Records se negó a producirlo.

El Sr. Brown puso su propio dinero y grabó la actuación en el Teatro Apolo en 1962.

Lanzado casi un año después, "Live At The Apollo" llegó al número dos en la lista de álbumes de Billboard, una hazaña sin precedentes para un álbum de R&B en vivo. Las emisoras de radio lo tocaron con una frecuencia antes reservada para los singles, y la asistencia a los conciertos del Sr. Brown se disparó.

Como líder de la James Brown Revue (The J.B.'s), James Brown sudaba hasta siete libras por noche a través de actuaciones cautivadoras. Su furioso régimen de giros, caídas y golpes como fingir un ataque al corazón emocionaba a las multitudes. El ritual de ponerse la capa y el rhythm & blues se convirtió en parte de su marca personal como intérprete.

La transformación del fervor del gospel en la intensidad tensa y explosiva del rhythm & blues, combinada con la precisión de la coreografía y la dinámica del espectáculo, definió la dirección de la música negra desde el lanzamiento de su primer éxito de R&B ("Please Please Please Please") en 1956. En 1965, Brown marcó su primer single pop en el Top 10 con "Papa's Got A Brand New Bag", y los éxitos siguieron llegando uno tras otro durante la siguiente década.

La estructura de gospel y blues de sus primeros discos dio paso a voces rítmicas y a un complejo sonido funk. Sus innovaciones durante este período tuvieron una profunda influencia en los estilos de música popular de todo el mundo.

El estatus de James Brown como "El Padrino del Alma" permanece inalterado. Continúa influyendo en las nuevas generaciones de fans que a menudo escuchan sus ritmos funk como muestras en grabaciones de rap. Miembro fundador del Salón de la Fama del Rock and Roll, el Sr. Brown se sumó a su colección de elogios cuando recibió un premio Grammy por toda una vida de logros en 1992. James Brown falleció el 25 de diciembre de 2006.

LAS BANDAS:
James Brown ha tenido el privilegio de trabajar con numerosas personas con talento a lo largo de los años. Muchos tocaron en las bandas que apoyaron al Sr. Brown a lo largo de su carrera.

La primera banda de Famous Flames Mr. Brown fue los Gospel Starlighters, un cuarteto liderado por su amigo Bobby Byrd. En 1952, los Starlighters tenían un crudo estilo gospel sureño. Su estilo evolucionó más tarde hacia un sonido de Rythm and Blues. Con esta transición, tomaron un nuevo nombre: los Avons.

Bajo la influencia de actos de Rock and Roll como Hank Ballard and the Midnighters, Fats Domino y otros, el grupo se conoció como los Flames. Los miembros de la banda que formaban los Flames incluían a James Brown, Bobby Byrd, Sylvester Keels, Doyle Oglesby, Fred Pullman, Nash Knox, Roy Scott y (más tarde en la guitarra) Nafloyd Scott. Cada miembro de la banda cantaba, bailaba y tocaba un instrumento.


Para la alineación original de Flames de 1956, James Brown tocaba la batería, mientras Bobby Byrd tocaba el piano. Muchos miembros llegaron y dejaron la banda a lo largo de los años, pero Bobby Byrd siguió siendo el compañero del Sr. Brown durante las tres décadas siguientes. Federal Records firmó los Famous Flames (como se llamaban ahora) en 1956. Fue bajo el sello Federal que "Please Please Please" se convirtió en su primer single de éxito, y vendió más de un millón de copias. James Brown era considerado ahora como el líder del grupo.

En 1957, después del sorpresivo retiro de Little Richard, James Brown tocó con los Upsetters y los Dominions. James Brown llenó el resto de las reservas de Little Richard y reclutó nuevos miembros de los Dominions.

Aunque James Brown y los Flames continuaron haciendo discos para Federal, no volvieron a encabezar las listas de éxitos durante tres años. En 1958, "Try Me" se convirtió en el primer disco de R&B número uno de la banda. En 1962, James Brown grabó "Live at the Apollo", que alcanzó el número dos en las listas de R&B. A medida que James Brown evolucionaba como músico, su estilo de gospel y blues dio paso a la creación de un nuevo género musical: el funk. Debilitados por frecuentes rupturas y cambios de estilo, los Famous Flames y James Brown actuaron juntos por última vez en 1964.

Para llevar su sonido funk a un nuevo nivel, James Brown formó la James Brown Revue, un grupo de interpretación con bailarines, presentadores y una banda de escenario llamada J.B.'s. Los talentosos músicos de trompa, como Fred Wesley y Maceo Parker, formaron la columna vertebral de la banda.

Con la adición de Bootsy Collins y otros jóvenes músicos, la banda de James Brown desarrolló un nuevo sonido de bajo rítmico creando la música dinámica que llevó a James Brown a la vanguardia del R&B.

Los J.B. crearon nuevos arreglos de canciones de James Brown. Por ejemplo, "Give It Up, Turn It Loose" evolucionó a "Get Up I Feel Like Being a Sex Machine". A los fans les encantó el nuevo sonido, que formó la leyenda detrás de la magia de los J.B.'s.

La lista de músicos influyentes que han trabajado con James Brown es extensa. Después de dejar la banda de James Brown, muchos miembros de la banda han pasado a obtener su propio éxito en el negocio de la música. Por ejemplo, Fred Wesley y Maceo Parker dejaron los J.B.'s para unirse a Parliament/Funkedelic.

Las mujeres que cantaban en la James Brown Revue formaron las James Brown Original Funky Divas y lanzaron sus propios discos a lo largo de los 60 y 70.

Otros artistas han grabado álbumes y singles producidos y escritos por James Brown. Los más notables de estos artistas incluyen a Fred Wesley & The JB's, Maceo & The Macks, Bobby Byrd, y Lyn Collins. Otros artistas producidos por James Brown son Vicki Anderson, Hank Ballard, Yvonne Fair, James Crawford, Marva Whitney, The Dapps, Alfred "Pee Wee" Ellis y Above Average Black Band (A.A.B.B.).
http://jazzbluesnews.com/2018/05/03/james-brown-american-icon-video/

 

www.jamesbrown.com ...

The Meters • The Meters

 

 

Review from AllMusic (by Rovi Staff): The Meters were formed as the house band for Allen Toussaint and Marshall Sehorn's Sansu Enterprises. Their debut combines New Orleans funk with the tight interplay of Art Neville, Leo Nocentelli, George Porter Jr. and Joseph "Zigaboo" Modeliste. The review highlights the simplicity and rhythmic nuance of the album, particularly Nocentelli's guitar work on "Ease Back" and Modeliste's drumming on "6V6 LA", as well as the band's interpretations of "Sing a Simple Song" and "Stormy".

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Resena de AllMusic (por Rovi Staff): The Meters se formaron como banda de estudio para Sansu Enterprises, de Allen Toussaint y Marshall Sehorn. Su debut combina el funk de Nueva Orleans con la precisa interaccion entre Art Neville, Leo Nocentelli, George Porter Jr. y Joseph "Zigaboo" Modeliste. La resena destaca la sencillez y el matiz ritmico del album, especialmente el trabajo de guitarra de Nocentelli en "Ease Back" y la bateria de Modeliste en "6V6 LA", ademas de las interpretaciones del grupo de "Sing a Simple Song" y "Stormy". 

 

Jackie Mittoo • The Keyboard King at Studio One

Jackie Mittoo (3 March 1948 – 16 December 1990) was a Jamaican keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.

He was born Donat Roy Mittoo in Browns Town, Saint Ann Parish, Jamaica, and began learning to play the piano when he was four under the tutelage of his grandmother.

In the 1960s he was a member of The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors and Sound Dimension. Mittoo's compositions in this period included "Darker Shade of Black", "Feel Like Jumping", and "Baby Why". He played with Lloyd "Matador" Daley in 1968 and 1969.

He emigrated to Toronto, Canada at the end of the 1960s. There he recorded three albums, Wishbone (Summus), Reggae Magic (CTL) and Let's Put It All Together (CTL). He also set up the Stine-Jac record label, as well as running a record store.

In 1970, his song "Peanie Wallie" was reworked into a song called "Duppy Conqueror" and recorded by The Wailers. Mittoo's song Wishbone was a hit in 1971. He performed in local Toronto lounges throughout the 1970s. Mittoo assisted Toronto-area reggae musicians, including Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James and Jason Wilson. Mittoo continued to record for Jamaican producers in the 1970s, mostly Bunny Lee. He co-wrote "Armagideon Time" (later recorded by The Clash) with Willi Williams, release in 1980.

In the 1980s, he often worked with Sugar Minott. In 1989, he briefly rejoined the Skatalites, but left when his health started to deteriorate. In 1989 and 1990 he recorded Wild Jockey for Lloyd Barnes’ Wackies label.

Mittoo entered a hospital on 12 December 1990 and died of cancer on 16 December at the age of 42. His funeral was held at the National Arena in Kingston, Jamaica, on 2 January 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond "Desi Roots" Young, Ruddy Thomas, Tommy Cowan, Clement "Coxsone" Dodd were among the attendees. A memorial concert was held around the same time, with performances by Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart and others.

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Jackie Mittoo (3 de marzo de 1948 - 16 de diciembre de 1990) fue un tecladista, compositor y director musical jamaicano. Fue miembro de The Skatalites y director musical del sello discográfico Studio One.

Nació Donat Roy Mittoo en Browns Town, Saint Ann Parish, Jamaica, y comenzó a aprender a tocar el piano cuando tenía cuatro años bajo la tutela de su abuela.

En la década de 1960 fue miembro de The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors y Sound Dimension. Las composiciones de Mittoo en este período incluyen "Darker Shade of Black", "Feel Like Jumping" y "Baby Why". Jugó con Lloyd "Matador" Daley en 1968 y 1969.

Emigró a Toronto, Canadá a fines de los años sesenta. Allí grabó tres álbumes, Wishbone (Summus), Reggae Magic (CTL) y Let's Put It All Together (CTL). También instaló el sello discográfico Stine-Jac, además de dirigir una tienda de discos.

En 1970, su canción "Peanie Wallie" fue reelaborada en una canción llamada "Duppy Conqueror" y grabada por The Wailers. La canción Wishbone de Mittoo fue un éxito en 1971. Tocó en salones locales de Toronto durante la década de 1970. Mittoo ayudó a los músicos de reggae del área de Toronto, incluyendo Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James y Jason Wilson. Mittoo continuó grabando para los productores jamaiquinos en la década de 1970, principalmente Bunny Lee. Él co-escribió "Armagideon Time" (más tarde grabado por The Clash) con Willi Williams, lanzado en 1980.

En la década de 1980, a menudo trabajaba con Sugar Minott. En 1989, se reincorporó brevemente a los Skatalites, pero se fue cuando su salud comenzó a deteriorarse. En 1989 y 1990 grabó Wild Jockey para el sello Wackies de Lloyd Barnes.

Mittoo ingresó en un hospital el 12 de diciembre de 1990 y murió de cáncer el 16 de diciembre a la edad de 42 años. Su funeral se celebró en el National Arena en Kingston, Jamaica, el 2 de enero de 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond " Desi Roots "Young, Ruddy Thomas, Tommy Cowan, Clement" Coxsone "Dodd estuvieron entre los asistentes. Un concierto conmemorativo se llevó a cabo casi al mismo tiempo, con actuaciones de Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart y otros. 

 

 

 

 

The Sure Fire Soul Ensemble • The Sure Fire Soul Ensemble

 

 

Review from San Diego Troubadour (by Frank Kocher): Frank Kocher describes the debut as an instrumental soul-funk record with a strong San Diego atmosphere, built around tight horn arrangements, organ, percussion, bass and guitar. He highlights the influence of Booker T. & the M.G.'s, Isaac Hayes, The Meters and Afrobeat, noting the concise grooves, memorable hooks and restrained solos. Tracks such as “Layin' Low,” “City Heights,” “Lane Changin',” “Funky River,” “The Blvd.,” “Sweltering Heights” and “Passing Clouds” are singled out for their particular instrumental character.

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Resena de San Diego Troubadour (por Frank Kocher): Frank Kocher describe el debut como un disco de soul-funk instrumental con una fuerte atmosfera de San Diego, construido sobre arreglos ajustados de vientos, organo, percusion, bajo y guitarra. Destaca las influencias de Booker T. & the M.G.'s, Isaac Hayes, The Meters y el Afrobeat, senalando sus grooves concisos, melodias memorables y solos contenidos. Entre los temas destacados menciona “Layin' Low”, “City Heights”, “Lane Changin'”, “Funky River”, “The Blvd.”, “Sweltering Heights” y “Passing Clouds”. 

 

www.sfsemusic.com ...

bandcamp.com ...  

 

Lachy Doley • S.O.S. Singer Organ Soul

 

 

 

Dubbed the Jimi Hendrix of the Hammond Organ, Lachy Doley is Australia’s most celebrated Blues Soul Rock Organ Player in the world today. A player who can pump, pamper and occasionally pound the most unbelievable sounds from a keyboard: sounds that are intense, ferocious and sometimes transcendent. Alongside powerhouse drummer Jackie Barnes and Bassist Joel Burton, The Lachy Doley Group are a super energetic soul/blues force like no other

“Makes u feel good the way he plays that clavinet” – BOOTSY COLLINS

“The greatest living keyboard player in the world today” – GLENN HUGHES (Deep Purple)

www.lachydoley.com

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Lachy Doley, apodado Jimi Hendrix de Hammond Organ, es un músico de órgano de Blues Soul Rock más famoso de Australia en el mundo de hoy. Un músico que puede bombear, mimar y ocasionalmente golpear los sonidos más increíbles de un teclado: sonidos que son intensos, feroces y, a veces, trascendentes. Junto al poderoso baterista Jackie Barnes y el bajista Joel Burton, The Lachy Doley Group es una fuerza de super blues / alma súper enérgica como ninguna otra.

"Te hace sentir bien la forma en que toca ese clavinet" - BOOTSY COLLINS

“El mejor teclista vivo del mundo hoy en día” - GLENN HUGHES (Deep Purple)

www.lachydoley.com

lachydoley.com

Booker T. And The MG's • Best Of

 

https://bookert.com/

VA • Big Deal! Weinberger Funk Library UK 1975-1979

Killer funk compilation full of highlights from the music archives of Josef Weinberger Ltd. in London, pulled from the most famous library albums on labels like JW (Josef Weinberger/ Theme Music), IA (Impress) or PM (Programme Music). First selection of 16 lost tracks by Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale or Vick Flick, oscillating between jazz-funk, soul music, proto techno and eastern-tinged disco, with open drum breaks, fat bass lines and plenty of horns/ wah wah/ organs/ vibes/ flutes/ electronic effects. Recorded from the master tapes, restored and mastered 2016 for 6-Page-Digipack-CD and limited vinyl LP, comparable to the best works of KPM, De Wolfe or Bosworth.

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Recopilación funk asesina llena de momentos culminantes de los archivos musicales de Josef Weinberger Ltd. en Londres, extraídos de los más famosos álbumes de biblioteca de sellos como JW (Josef Weinberger/Theme Music), IA (Impress) o PM (Programme Music). Primera selección de 16 temas perdidos de Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale o Vick Flick, que oscilan entre el jazz-funk, la música soul, el proto techno y la música disco con tintes orientales, con breaks abiertos de batería, líneas de bajo gordas y un montón de trompetas/ wah wah/ órganos/ vibráfonos/ flautas/ efectos electrónicos. Grabado a partir de las cintas maestras, restaurado y masterizado en 2016 para 6-Page-Digipack-CD y LP de vinilo limitado, comparable a los mejores trabajos de KPM, De Wolfe o Bosworth.

 

 

Berry Lipman & His Orchestra ⁄ Rex Brown Company • Season Opening

Berry Lipman a.k.a. Friedel Berlipp (1921 — 2016) was since 1955 active as in-house composer and band leader for the record label EMI, working for Gitte, Chris Howland, Lale Andersen, Cliff Richard, Charles Aznavour, Dalida and many more.

In 1964 he switched as head producer over to Deutsche Vogue where he produced among others Petula Clark, Pat Boone, Billy Vaughn, Dionne Warwick and Jonny Teupen.

And in 1967 he finally became a freelance music producer and founded the Berry Lipman Orchester in there some great European musicians like Charly Antolini or Jiggs Whigham for example. Very successful with their mostly very easy Lounge-Pop sounds like The orchestra’s biggest hit THE GIRLS FROM PARAMARIBO composed by Berry Lipman. He also worked for Selected Sound, the Hamburg based German library company and on this album Berry Lipman shows his full spectrum between the typical easy female LALALA vocal stuff, really thrilling Library Music and some nice n’ groovy Disco tunes.

by whatiswrongwithgrooving

https://whatiswrongwithgrooving.com/2018/02/23/berry-lipman-his-orchestra-rex-brown-company-season-opening/

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Berry Lipman alias Friedel Berlipp (1921 - 2016) estuvo activo desde 1955 como compositor y líder de banda para el sello discográfico EMI, trabajando para Gitte, Chris Howland, Lale Andersen, Cliff Richard, Charles Aznavour, Dalida y muchos más.

En 1964 cambió como productor jefe a Deutsche Vogue donde produjo entre otros a Petula Clark, Pat Boone, Billy Vaughn, Dionne Warwick y Jonny Teupen.

Y en 1967 se convirtió finalmente en productor musical independiente y fundó la Berry Lipman Orchester en la que participaron grandes músicos europeos como Charly Antolini o Jiggs Whigham, por ejemplo. Muy exitosos con su Lounge-Pop, en su mayoría muy fácil, suena como el mayor éxito de la orquesta, THE GIRLS FROM PARAMARIBO, compuesto por Berry Lipman. También trabajó para Selected Sound, la compañía alemana de bibliotecas con sede en Hamburgo y en este álbum Berry Lipman muestra todo su espectro entre el típico material vocal femenino fácil de LALALA, realmente emocionante Library Music y algunas agradables y groovy melodías de Disco.

por whatiswrongwithgrooving

https://whatiswrongwithgrooving.com/2018/02/23/berry-lipman-his-orchestra-rex-brown-company-season-opening/

James Taylor Quartet • New World

 

The Link Quartet • Live anthology 1998-2018

 

 

Attivo dal 1993, il quartetto di Piacenza si è imposto a livello internazionale come punto di riferimento per il suono Hammond grazie a un’esplosiva miscela di funk, rock e soul interpretata in maniera unica, moderna e originale.
La band, che da sempre affianca all’attività in studio un’intensa serie di concerti in giro per il mondo, ha calcato palchi prestigiosi come il GO! Lleida ’60 Festival in Spagna, il 100 Club di Londra, l’Our Way of Thinking di Chicago, il Club Au-go-go di Los Angeles, lo Sziget Festival di Budapest, l’Hammond Explosion di Parigi, condividendo il palco con gruppi del calibro di Manu Chao, Sharon Jones & The Dap-Kings, Charles Bradley, James Taylor Quartet, Brian Auger’s Oblivion Express, Downliners Sect, Chocolate Watch Band e Bonniwell Music Machine.
La collaborazione con etichette prestigiose come Acid Jazz (UK), Record Kicks (ITA), Hammondbeat (USA), Soundflat (GER), P-Vine (JPN), Area Pirata (ITA) e molte altre ha permesso al Link Quartet di lavorare con numerosi artisti italiani e stranieri, reinventando continuamente il proprio suono, con un occhio rivolto al futuro e uno strettamente ancorato alla lunga e prestigiosa tradizione dell’organo Hammond.
Dopo il tour promozionale dell’album “Minimal Animal” che ha portato nuovamente il gruppo in giro per tutta Europa, il Link Quartet ha deciso di festeggiare il suo venticinquesimo compleanno registrando dal vivo in studio i suoi brani migliori durante un evento di tre giorni aperto al pubblico, svoltosi presso lo studio di registrazione di Tanzan Music.
Il risultato è Secret Sessions, un nuovo album dal vivo che raccoglie il meglio della carriera della band e che restituisce su disco tutta la carica e l’energia dei live. Da “Beat.it” a “Minimal Animal” passando per “Italian Playboys”, “4”, “Fast Girl & Sexy Cars” e “Quattro Pezzi Facili”, il gruppo rispolvera i classici della sua carriera, offrendo all’ascoltatore una nuova prospettiva sul proprio suono.
L’edizione in LP è uscita 31 Maggio 2019 per l’inglese Spinout Nuggets in un’edizione limitata e numerata di 300 copie insieme all’edizione digitale per Tanzan Music e ai video registrati durante le performance.
https://www.linkquartet.com/about/

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Active since 1993, the quartet of Piacenza has established itself internationally as a reference point for the Hammond sound thanks to an explosive mixture of funk, rock and soul interpreted in a unique, modern and original Moderna.
The band, which has always combined studio activity with an intense series of concerts around the world, has trod prestigious stages such as GO! Lleida 60's Festival in Spain, the 100 Club in London, Our Way of Thinking of Chicago, the Club Au go-go in Los Angeles, the Sziget Festival in Budapest, the Hammond Explosion of Paris, sharing the stage with groups of the likes of Manu Chao, Sharon Jones & The Dap-Kings, Charles Bradley, James Taylor Quartet, Brian Auger's Oblivion Express, Downliners Sect, Chocolate Watch Band, the Bonniwell Music Machine.
The collaboration with prestigious labels such as AcidazzAzz (UK), Record Kicks (ITA), Hammondbeat (USA), Soundflat (GER), P-Vine (PN
After the promotional tour of the album “Minimal Animal " that again took the group around Europe, the Link Quartet decided to celebrate its twenty-fifth birthday by recording its best songs live in the studio during a three-day event open to the public, held at the recording studio of Tanzan Music.
The result is Secret Sessions, a new live album that collects the best of the band's career and that returns all the charge and energy of the live. From “Beat.it " a "Minimal Animal" passing through " Italian Pla Pla By S”, “4”, “Fast Girl & Se Se Cars” and “Four Easy Pieces”, the group dusts off the classics of its career, offering the listener a new perspective on their own sound.
The LP edition was released 31 May 2019 for the English Spinout Nuggets in a limited and numbered edition of 300 copies along with the digital edition for Tanzan Music and videos recorded during the performances.
https://www.linkquartet.com/about/

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En activo desde 1993, el cuarteto de Piacenza se ha consolidado internacionalmente como un referente del sonido Hammond gracias a una explosiva mezcla de funk, rock y soul interpretada de forma única, moderna y original.
¡La banda, que siempre ha combinado la actividad de estudio con una intensa serie de conciertos por todo el mundo, ha actuado en prestigiosos escenarios como el Festival GO! Lleida '60 Festival en España, el 100 Club en Londres, Our Way of Thinking en Chicago, el Au-go-go Club en Los Ángeles, el Sziget Festival en Budapest, el Hammond Explosion en París, compartiendo escenario con artistas de la talla de Manu Chao, Sharon Jones & The Dap-Kings, Charles Bradley, James Taylor Quartet, Brian Auger's Oblivion Express, Downliners Sect, Chocolate Watch Band o Bonniwell Music Machine.
La colaboración con prestigiosos sellos como Acid Jazz (UK), Record Kicks (ITA), Hammondbeat (USA), Soundflat (GER), P-Vine (JPN), Area Pirata (ITA) y muchos otros ha permitido al Link Quartet trabajar con numerosos artistas italianos y extranjeros, reinventando constantemente su sonido, con la mirada puesta en el futuro y estrictamente anclado en la larga y prestigiosa tradición del órgano Hammond.
Tras la gira promocional del álbum "Minimal Animal", que una vez más llevó al grupo por Europa, el Link Quartet decidió celebrar su 25 cumpleaños grabando sus mejores temas en directo en el estudio durante un evento de tres días abierto al público, celebrado en el estudio de grabación de Tanzan Music.
El resultado es Secret Sessions, un nuevo álbum en directo que recoge lo mejor de la carrera de la banda y devuelve al disco toda la carga y la energía de las actuaciones en vivo. Desde "Beat.it" a "Minimal Animal" pasando por "Italian Playboys", "4", "Fast Girl & Sexy Cars" y "Four Easy Pieces", la banda desempolva los clásicos de su carrera, ofreciendo al oyente una nueva perspectiva de su sonido.
La edición en LP sale el 31 de mayo de 2019 para Spinout Nuggets del Reino Unido en una edición limitada y numerada de 300 copias junto con una edición digital para Tanzan Music y vídeos grabados durante las actuaciones.
https://www.linkquartet.com/about/


www.linkquartet.com ...

Gianni Oddi • Style

 
Review by Thom Jurek  
Style, released in 1974, was the last album issued under composer/arranger/multi-instrumentalist Gianni Oddi's leadership. Shortly thereafter, he was hired by Ennio Morricone as his principal soloist on saxophone. This album was privately issued by RCA Italy as a sound library recording; its compositions were to be leased by cinema and television productions and in commercials. While it was a common practice for independent labels, many of whose stock in trade was library music, RCA Italy only did it for a few years. Despite the contract purpose to create tunes to be used as soundtrack and serial material, on Style, Oddi delivers a masterwork in the genre; every tune fits its companions like the fingers in a glove. Writing charts that utilized the best in spiritual and mainstream creative jazz, Indian modalism, funk, and psychedelic rock, Oddi crystallized not only the library music era's peak, but the sound of early-'70s Italy in particular. It's there in the groovy Euro bossa on opener "Moda d'Estate," with its languid guitars, percolating berimbau, and a reverbed harpsichord among its keyboards. "Popoff" is heavy wah-wah guitar, distorted bass, and conga funk, with funky Rhodes piano and breakbeats all accompanied by a tight yet soaring horn section. A Middle Eastern groove woven by cellos, violins, winds, double bass, and careening tablas saturates "Notte a Bagdad," capped off by an outside saxophone solo. "Fine di un Amore" is lithe, languid bossa jazz, with luminous strings, spacy Rhodes, and shimmering hand-brushed percussion. "Torte in Faccia" is campy pop-psych ragtime with harpsichords, synths, toy pianos, guitars, and a one-two snare drum pop. While it's the weakest tune here, it's a fine precursor to "Chanel N.7," a sensual, atmospheric jazz tune, with lovely flute and gorgeous interplay between sparkling electric piano and resonant vibraphone. The fiery psychedelic samba on "Una Giornato a Rio" is answered by tripped-out jazzy funk on "Kimono Pop." Style is a stone killer top to bottom; it's a fitting sendoff to Oddi's years as a bandleader. A thorough, painstaking remaster has been reissued in Schema's Easy Series imprint with excellent sound.
https://www.allmusic.com/album/style-mw0002672111

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Reseña de Thom Jurek  
Style, publicado en 1974, fue el último álbum publicado bajo la dirección del compositor, arreglista y multiinstrumentista Gianni Oddi. Poco después, fue contratado por Ennio Morricone como su principal solista de saxofón. Este álbum fue publicado de forma privada por RCA Italia como una grabación de biblioteca sonora; sus composiciones iban a ser alquiladas por producciones de cine y televisión y en anuncios publicitarios. Si bien era una práctica habitual para los sellos independientes, muchos de los cuales tenían en su haber música de librería, RCA Italia sólo lo hizo durante unos años. A pesar del propósito del contrato de crear melodías para ser utilizadas como material de banda sonora y de serie, en Style, Oddi entrega una obra maestra en el género; cada melodía se ajusta a sus compañeros como los dedos de un guante. Escribiendo temas que utilizan lo mejor del jazz creativo espiritual y convencional, el modalismo indio, el funk y el rock psicodélico, Oddi cristalizó no sólo el apogeo de la era de la música de biblioteca, sino el sonido de la Italia de principios de los 70 en particular. Está ahí en la groovy Euro bossa del primer disco, "Moda d'Estate", con sus lánguidas guitarras, su berimbau y un clavicordio reverberado entre sus teclados. "Popoff" es una guitarra wah-wah pesada, un bajo distorsionado y conga funk, con un piano Rhodes funky y breakbeats, todo ello acompañado por una sección de trompetas ajustada, pero elevada. Un groove de Oriente Medio entretejido por violonchelos, violines, vientos, contrabajos y tablas cargadas satura "Notte a Bagdad", rematado por un solo de saxofón exterior. "Fine di un Amore" es un bossa jazz ágil y lánguido, con cuerdas luminosas, Rhodes espumosos y una percusión brillante. "Torte in Faccia" es un ragtime pop-psych con clavicordios, sintetizadores, pianos de juguete, guitarras y una caja de ritmos. Aunque es el tema más flojo, es un buen precursor de "Chanel N.7", un tema de jazz sensual y atmosférico, con una encantadora flauta y una magnífica interacción entre el brillante piano eléctrico y el resonante vibráfono. La ardiente samba psicodélica de "Una Giornato a Rio" es respondida por el funk jazzístico de "Kimono Pop". El estilo es un asesino de piedra de arriba a abajo; es una despedida adecuada a los años de Oddi como líder de la banda. Se ha reeditado en el sello Easy Series de Schema con un sonido excelente.
https://www.allmusic.com/album/style-mw0002672111

The Service • Serve the Groove

On The Spot Trio • Straight Out The Garden

 

Funky band from Santa Cruz, California.


otstrio.com ...

Wayne Carter And Organ Twisters • Wayne Carter And Organ Twisters

 

Wayne Carter was born 1936 where he was raised in Carol County, Tennessee he first started playing music when his family bought a piano where he would teach himself songs he heard off of the radio and by the time he was 15 he was playing and touring in various bands. by the 1960s Wayne and family moved to Illinois where he bought an A-100 Hammond Organ and started up his own band Wayne Carter & The Organ Twisters.
Only putting out a couple of 45s before being forgotten Wayne Carter & The Organ Twisters.

After a trip back from Sioux Falls, South Dakota, Wayne Carter picked up a phone book and called a local studio to arrange a cooking session of funk music. This session was at Mootrey’s studio which was a studio that made custom recordings that was owned and operated by Chet Mootrey. These recordings were Peter In Or Out, Let’s Run Away From The World, and presumably, That’s Cancer and Trock-Rock but he would later record the songs Wahoo, Wahoo, Wahoo, and Mad Mouth Woman sometime in the 70s.

The Album opens up with the song Wahoo, Wahoo, Wahoo an organ and sax funk filled song about a man who came home from work and found his wife cheating on him with another man so he sits down and cries and says they have to part. This song is filled with a fantastic saxophone and organ solo which really shines the playing of Wayne Carter and his band.

The next song Mad Mouth Woman is one of my favorites of the EP which is about a woman who won’t talk to her man anymore and keeps saying bad things about him to other people like the neighbors as stated in the song. The song has this dirty sounding guitar being played through a wah-wah pedal, a nice drum beat with matching bass playing and a nice organ solo from Wayne which really adds to the song itself.

Let’s Run Away From the World is also another favorite of mine off the EP a song about feeling free without having to worry about anything or problems that they have faced and have had in the past where they can start anew in a new place. This song really shows how great they were during this recording with excellent Organ playing, funky drums, guitar, bass and a killer backing from a brass section.

Peter In or Out is one of the recordings done with a similar fashion as Let’s Run Away From the World that highlights the sessions funkiness with all of the instruments really showing on the track but with a more gritty song which fits the tone of the track as it matches up with the lyrics to the song which is about people facing their problems and showing that they’re wrong.

That’s Cancer is a laid back type track where the people in this session were just jamming around and making it up as they were going with this track though it is not as great as the other tracks it’s really laid back and groovy which makes up for the lack of playing on it overall a good song to listen to.

The last and final song Trock Rock also just a laid back song where he is really jamming on the organ soloing throughout the whole song as the backing rhythm just plays along with it and keeps the track going along not really doing anything different throughout the song.

After the making of this session, Wayne Carter would continue playing in his band but was barred from selling his albums as he would work in supper clubs which would not allow funk music to be played as it did not fit the mood of the club making it fall into the obscure with him never selling any copies and just giving it to friends and family. He remained in the music business playing with many other acts and bands where today he plays with a group called the Dan Rivero Band.
https://lankybastards.com/2019/02/13/who-is-wayne-carter-the-organ-twisters/

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Wayne Carter nació en 1936 y se crió en el condado de Carol, Tennessee. Empezó a tocar música cuando su familia compró un piano y le enseñó las canciones que escuchaba en la radio y a los 15 años ya tocaba y hacía giras con varias bandas. En los años 60, Wayne y su familia se mudaron a Illinois, donde compró un órgano Hammond A-100 y creó su propia banda Wayne Carter & The Organ Twisters.
Solo sacaron un par de 45s antes de ser olvidados Wayne Carter & The Organ Twisters.

Después de un viaje de vuelta de Sioux Falls, Dakota del Sur, Wayne Carter cogió una guía telefónica y llamó a un estudio local para organizar una sesión de música funk. Esta sesión fue en el estudio de Mootrey, que era un estudio que hacía grabaciones a medida y que era propiedad de Chet Mootrey. Estas grabaciones fueron Peter In Or Out, Let's Run Away From The World, y presumiblemente, That's Cancer y Trock-Rock pero más tarde grabaría las canciones Wahoo, Wahoo, Wahoo, y Mad Mouth Woman en algún momento de los años 70.

El álbum se abre con la canción Wahoo, Wahoo, Wahoo, una canción llena de órgano y saxo funk sobre un hombre que llega a casa del trabajo y encuentra a su mujer engañándole con otro hombre, así que se sienta y llora y dice que tienen que separarse. Esta canción está llena de un fantástico solo de saxofón y órgano que realmente hace brillar la interpretación de Wayne Carter y su banda.

La siguiente canción Mad Mouth Woman es una de mis favoritas del EP y trata de una mujer que no quiere hablar más con su hombre y sigue diciendo cosas malas sobre él a otras personas, como los vecinos, como se dice en la canción. La canción tiene un sonido sucio de guitarra que se toca con un pedal wah-wah, un buen ritmo de batería con un bajo a juego y un buen solo de órgano de Wayne que realmente se suma a la canción.

Let's Run Away From the World es también otra de mis favoritas del EP, una canción que habla de sentirse libre sin tener que preocuparse de nada o de los problemas que han tenido en el pasado y de poder empezar de nuevo en un lugar nuevo. Esta canción muestra realmente lo bien que estaban durante esta grabación con un excelente órgano, una batería funky, una guitarra, un bajo y una sección de vientos que les da un gran apoyo.

Peter In or Out es una de las grabaciones realizadas de forma similar a Let's Run Away From the World que resalta el funk de las sesiones con todos los instrumentos que se muestran en el tema, pero con una canción más dura que encaja con el tono del tema, ya que coincide con la letra de la canción, que trata de la gente que se enfrenta a sus problemas y demuestra que están equivocados.

That's Cancer es un tema relajado en el que la gente de la sesión se dedicó a improvisar e inventar sobre la marcha. Aunque no es tan bueno como los otros temas, es realmente relajado y con mucho ritmo, lo que compensa la falta de interpretación, y en general es una buena canción para escuchar.

La última canción, Trock Rock, también es una canción relajada en la que el músico improvisa un solo de órgano a lo largo de toda la canción, mientras que el ritmo de acompañamiento se limita a seguir la pista sin hacer nada diferente a lo largo de la canción.

Después de esta sesión, Wayne Carter continuó tocando con su banda, pero no pudo vender sus álbumes porque trabajaba en clubes nocturnos que no permitían que se tocara música funk, ya que no encajaba en el ambiente del club. Siguió en el negocio de la música tocando con muchos otros actos y bandas donde hoy toca con un grupo llamado Dan Rivero Band.
https://lankybastards.com/2019/02/13/who-is-wayne-carter-the-organ-twisters/

The New Mastersounds • Renewable Energy

 

 

In the late 1990’s, guitarist and producer Eddie Roberts was promoting a club night in Leeds called “The Cooker.” When The Cooker moved into a new venue with a second floor in 1999, there was space and the opportunity to put a live band together to complement the DJ sets. Simon Allen and Eddie had previously played together as The Mastersounds, though with a different bassist and no organ. Through friends and the intimate nature of the Leeds music scene, Pete Shand and Bob Birch were added on bass and Hammond respectively, and The New Mastersounds were born. Though it was raw, and more of a boogaloo sound at first, it was powerful from the start. Their first rehearsal was hot enough for Blow it Hard Records to release on two limited-edition 7” singles in 2000.

Fast-forward 19 years, and the band’s recorded catalogue boasts 24 more 7” singles, 13 studio albums, 3 live albums, 1 remix album and 3 compilation albums, released variously in UK, Japan, and USA - where they continue to tour extensively. Joe Tatton, another veteran of the Leeds scene, joined back in 2007, replacing Bob Birch on organ and piano.

As a band, and as individuals, they have collaborated with an impressive array of musicians, DJs and producers, including: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

During a 2018 US tour, a sit-in by Atlanta-based vocalist Lamar Williams Jr turned heads, and the fit with NMS was so right that they pledged to make a record together. The resulting album was written and recorded in Denver, CO in December of that year and will be released in Fall 2019 on Eddie Roberts’ own Color Red label.

As an example of the respect this band commands, Peter Wermelinger - DJ, collector, and author of the crate-diggers’ bible The Funky & Groovy Music Lexicon - places the 2001 NMS track ‘Turn This Thing Around’ in his all-time top-ten tunes, along with the likes of Eddie Harris, Funkadelic, and Herbie Hancock. The New Mastersounds are at the very top of an elite selection of acts that bring the true soul out of funk.
http://www.newmastersounds.com/about

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A finales de los 90, el guitarrista y productor Eddie Roberts promocionaba una noche de club en Leeds llamada "The Cooker". Cuando The Cooker se trasladó a un nuevo local con una segunda planta en 1999, hubo espacio y la oportunidad de montar una banda en directo para complementar los sets de los DJ. Simon Allen y Eddie ya habían tocado juntos como The Mastersounds, aunque con un bajista diferente y sin órgano. Gracias a los amigos y a la naturaleza íntima de la escena musical de Leeds, Pete Shand y Bob Birch se incorporaron al bajo y al Hammond respectivamente, y así nació The New Mastersounds. Aunque su sonido era crudo y más bien de boogaloo al principio, fue potente desde el principio. Su primer ensayo fue lo suficientemente bueno como para que Blow it Hard Records lo publicara en dos singles de 7" de edición limitada en el año 2000.

Avancemos 19 años, y el catálogo de la banda cuenta con 24 singles de 7" más, 13 álbumes de estudio, 3 álbumes en directo, 1 álbum de remezclas y 3 álbumes recopilatorios, editados en Reino Unido, Japón y Estados Unidos, donde siguen realizando numerosas giras. Joe Tatton, otro veterano de la escena de Leeds, se unió en 2007, sustituyendo a Bob Birch en el órgano y el piano.

Como banda, y como individuos, han colaborado con una impresionante variedad de músicos, DJs y productores, incluyendo: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

Durante una gira por Estados Unidos en 2018, una sentada del vocalista de Atlanta, Lamar Williams Jr, llamó la atención, y el encaje con NMS fue tan correcto que se comprometieron a hacer un disco juntos. El álbum resultante se escribió y grabó en Denver, CO, en diciembre de ese año y se publicará en otoño de 2019 en el propio sello Color Red de Eddie Roberts.

Como ejemplo del respeto que despierta esta banda, Peter Wermelinger -DJ, coleccionista y autor de la biblia de los buscadores de cajas The Funky & Groovy Music Lexicon- coloca el tema de NMS de 2001 'Turn This Thing Around' en su top-ten de canciones de todos los tiempos, junto con las de Eddie Harris, Funkadelic y Herbie Hancock. The New Mastersounds están en la cima de una selección de élite de artistas que sacan el verdadero alma del funk.
http://www.newmastersounds.com/about


www.newmastersounds.com ...