Don Patterson • Dem New York Dues

Review

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith school, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This CD (which reissues two complete LPs) features Patterson in prime form in a quintet with trumpeter Blue Mitchell, Junior Cook on tenor, and guitarist Pat Martino, and with a separate group that features trumpeter Virgil Jones and both George Coleman and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents.

by Scott Yanow

https://www.allmusic.com/album/dem-new-york-dues-mw0000177249

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Revisar

A pesar de las afirmaciones de lo contrario, el organista Don Patterson era muy de la escuela de Jimmy Smith, un jugador muy trabajador con una gran capacidad de improvisación pero sin un sonido distintivo propio. Este CD (que reedita dos LPs completos) presenta a Patterson en forma de quinteto con el trompetista Blue Mitchell, Junior Cook en el tenor y el guitarrista Pat Martino, y con un grupo separado que incluye al trompetista Virgil Jones y a George Coleman y Houston Person en los tenores. Aunque "Oh Happy Day" es un descarte, las animadas interpretaciones de Patterson del blues y los estándares hacen de este un ejemplo bastante definitivo de su talento.

por Scott Yanow

https://www.allmusic.com/album/dem-new-york-dues-mw0000177249

Bernard Purdie • Purdie Good

Review by Stewart Mason

Even the best session players -- and Bernard "Pretty" Purdie is certainly one of those -- are not necessarily cut out to lead their own sessions. Indeed, it seems like Purdie's much-vaunted ability to play well in just about any style thrown at him is almost a liability on 1971's Purdie Good. Fred Neil's "Everybody's Talkin'" is done in a calypso fashion that does little for the song (although Warren Daniels and Charlie Brown do manage a passable tenor sax duel), and this version of Bobby Bloom's pop hit "Montego Bay" is even more lightweight and middle of the road than the original. Not all of the album is so disposable; the originals "Purdie Good" and "Wasteland" work up some hot jazz-funk grooves, and the ballad "You Turn Me On" has a slinky charm. But the cover of James Brown's "Cold Sweat" sums up the album's problems: the covers are competent enough, but why listen to them when the originals are far superior? At best, the album only barely lives up to its title.

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Review by Stewart Mason

Even the best session players -- and Bernard "Pretty" Purdie is certainly one of those -- are not necessarily cut out to lead their own sessions. Indeed, it seems like Purdie's much-vaunted ability to play well in just about any style thrown at him is almost a liability on 1971's Purdie Good. Fred Neil's "Everybody's Talkin'" is done in a calypso fashion that does little for the song (although Warren Daniels and Charlie Brown do manage a passable tenor sax duel), and this version of Bobby Bloom's pop hit "Montego Bay" is even more lightweight and middle of the road than the original. Not all of the album is so disposable; the originals "Purdie Good" and "Wasteland" work up some hot jazz-funk grooves, and the ballad "You Turn Me On" has a slinky charm. But the cover of James Brown's "Cold Sweat" sums up the album's problems: the covers are competent enough, but why listen to them when the originals are far superior? At best, the album only barely lives up to its title.

Boogaloo Joe Jones • Right On Brother

Right On Brother is the fourth album by guitarist Boogaloo Joe Jones which was recorded in 1970 and released on the Prestige label.

Artist Biography by Richie Unterberger

Not to be confused with Philly Joe Jones, guitarist Ivan Joseph "Boogaloo Joe" Jones recorded several albums in a soul-jazz vein for Prestige in the late '60s and early '70s. In addition to leading his own group for recording purposes, Jones also played with Wild Bill Davis, Houston Person, and Willis Jackson. His own dates are solid, if unexceptional groove jazz, leaving plenty of space for the saxes and organ, as well as his own bop/R&B hybrid style. Rusty Bryant, Charles Earland, and ace soul and jazz session drummer Bernard Purdie are among the sidemen also featured on Boogaloo's albums.

https://www.allmusic.com/artist/boogaloo-joe-jones-mn0000113250/biography

Artist Biography by   Douglas Payne

In the short decade (1966-78) he recorded and performed, guitarist Ivan "Boogaloo Joe" Jones was never really given his due as an exciting, rapid-fire R&B plecterist. His sound and style clearly derived from the blues. But it was a solid understanding of rock that Jones brought to his style of jazz. The result, outlined on a handful of albums for Prestige, was a healthy mix of finger-licking funk, sweet-natured soul and infectious blues.

Born Ivan Joseph Jones on November 1, 1940, Boogaloo Joe Jones learned the guitar himself on a three-string instrument that he received as a gift from his father in 1956. He was influenced most by Tal Farlow and Billy Butler, but gravitated toward the R&B juke-joint jazz Butler was popularizing with organist Bill Doggett's popular group. Jones has lived in South New Jersey most of his life and mostly worked in and around the Atlantic City area with chitlin-circuit heroes like Wild Bill Davis, Willis Jackson and Charlie Ventura.

"Right On Brother"He made his solo debut as "Joe Jones" on Prestige Records in 1967, but earned the name "Boogaloo Joe" following a 1969 record of that title. The demeaning name was meant to distinguish him from the other Jo(e) Jones in music: Papa Jo, Philly Joe, and the Joe of the Fluxus movement. But as much as the moniker suited his style it probably straightjacketed his jazz career too. Later, he'd turn to billing himself as Ivan "Boogaloo Joe" Jones.

While jazz went through some drastic changes during the dozen years of his recording career, Jones’ sound and style stayed remarkably consistent. His twangy tone coupled catchy chordal vamps with astonishing rapid-fire single-note playing. He could handle familiar pop covers ("Light My Fire," "Have You Never Been Mellow") and ballads. But he really excelled in the jazz-funk groove and proved himself a first-rate blues player.

"My Fire!"None of his albums are groundbreaking or marked by individual achievements. But every Joe Jones record contains reliably interesting covers (blues like "St. James Infirmary" and "Trouble In Mind" are the best) and percolating originals that aptly illustrate the guitarist's fretboard talents: "Right Now," "Ivan The Terrible," "Boogaloo Joe," "6:30 Blues," "Poppin," "Hoochie Coo Chickie," "Black Whip," "Confusion" and "Sweetback." These are the songs that today's club crowd discovered and celebrate as the cornerstone of "acid jazz."

Ivan Jones recorded with Groove Holmes, Houston Person, Rusty Bryant, Harold Mabern and, most notably, Willis Jackson. Jones, who never won the notice of critics or great support from fans during his career, is finding new life on CD -- thanks to the apt and rapt attention of the acid-jazz crowd. Today, the retired guitarist is believed to reside in his hometown of Vineland, New Jersey.

http://www.dougpayne.com/bjj_bio.htm

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Right On Brother es el cuarto álbum del guitarrista Boogaloo Joe Jones, grabado en 1970 y publicado por el sello Prestige.


Biografía del artista por Richie Unterberger

No confundir con Philly Joe Jones, el guitarrista Ivan Joseph "Boogaloo Joe" Jones grabó varios álbumes en una vena de soul-jazz para Prestige a finales de los'60 y principios de los'70. Además de dirigir su propio grupo con fines de grabación, Jones también tocó con Wild Bill Davis, Houston Person y Willis Jackson. Sus propias fechas son sólidas, aunque no excepcionales, y dejan mucho espacio para los saxos y el órgano, así como su propio estilo híbrido de bop/R&B. Rusty Bryant, Charles Earland, y el baterista de soul y jazz Bernard Purdie son algunos de los sidemen que también aparecen en los álbumes de Boogaloo.

https://www.allmusic.com/artist/boogaloo-joe-jones-mn0000113250/biography

Biografía del artista por Douglas Payne

En la corta década (1966-78) grabó y tocó, el guitarrista Ivan "Boogaloo Joe" Jones nunca fue realmente reconocido como un apasionante y rápido plecterista de R&B. Su sonido y estilo derivan claramente del blues. Pero fue una sólida comprensión del rock lo que Jones aportó a su estilo de jazz. El resultado, esbozado en un puñado de álbumes para Prestige, fue una saludable mezcla de funk para chuparse los dedos, soul dulce y blues contagioso.

Nacido Ivan Joseph Jones el 1 de noviembre de 1940, Boogaloo Joe Jones aprendió la guitarra él mismo en un instrumento de tres cuerdas que recibió como regalo de su padre en 1956. Fue influenciado por Tal Farlow y Billy Butler, pero se inclinó por el jazz R&B juke-joint Butler se estaba popularizando con el grupo popular del organista Bill Doggett. Jones ha vivido en el sur de Nueva Jersey la mayor parte de su vida y ha trabajado principalmente en el área de Atlantic City y sus alrededores con héroes del circuito de chitlin como Wild Bill Davis, Willis Jackson y Charlie Ventura.

"Right On Brother" debutó en solitario como "Joe Jones" en Prestige Records en 1967, pero se ganó el nombre de "Boogaloo Joe" tras un disco de 1969 con ese título. El nombre degradante tenía la intención de distinguirlo del otro Jo(e) Jones en la música: Papa Jo, Philly Joe, y el Joe del movimiento Fluxus. Pero por mucho que el apodo se adaptara a su estilo, probablemente también enderezó su carrera de jazz. Más tarde, se convertiría en Ivan "Boogaloo Joe" Jones.

Mientras que el jazz pasó por algunos cambios drásticos durante los doce años de su carrera discográfica, el sonido y el estilo de Jones se mantuvieron notablemente consistentes. Su tono twangy unía a pegadizos vampiros cordales con una asombrosa y rápida interpretación de una sola nota. Podía manejar las conocidas portadas pop ("Light My Fire", "Have You Never Been Mellow") y baladas. Pero realmente sobresalió en el groove del jazz-funk y demostró ser un bluesista de primera clase.

"¡Mi fuego!" Ninguno de sus álbumes es innovador o está marcado por logros individuales. Pero todos los discos de Joe Jones contienen portadas fiables e interesantes (blues como "St. James Infirmary" y "Trouble In Mind" son los mejores) y originales percolantes que ilustran a la perfección los talentos del guitarrista en el diapasón: "Ahora mismo", "Ivan el Terrible", "Boogaloo Joe", "6:30 Blues", "Poppin", "Hoochie Coo Chickie", "Black Whip", "Confusión" y "Sweetback". Estas son las canciones que la gente del club de hoy descubrió y celebra como la piedra angular del "acid jazz".

Ivan Jones grabó con Groove Holmes, Houston Person, Rusty Bryant, Harold Mabern y, sobre todo, Willis Jackson. Jones, que nunca se ganó la atención de los críticos o el gran apoyo de los fans durante su carrera, está encontrando una nueva vida en el CD - gracias a la atención apta y cautivada de la multitud del acid jazz. Hoy en día, se cree que el guitarrista jubilado reside en su ciudad natal de Vineland, Nueva Jersey.

http://www.dougpayne.com/bjj_bio.htm

Traducción realizada con el traductor www.DeepL.com/Translator

 

Billy Lee Riley • Red Hot The Best

Hijo de un aparcero de Arkansas medio cherokee, Billy Lee era parte de la llamada basura blanca del sur y con solo 6 años ya tenía que estar recogiendo algodón (a esa edad empezó a tocar la armónica como distracción en los descansos). De adolescente pasaba más tiempo con los jornaleros negros que con los chicos de su edad, y de ellos fue de quién aprendió a tocar la guitarra, principalmente blues. Huyendo de la pobreza se alistó en la Marina de Estados Unidos sin tener edad para ello falsificando su partida de nacimiento en 1951. A pesar de que estaban en guerra con Corea Billy Lee sacaba tiempo para tocar, para componer canciones e incluso para grabar algun acetato en el barco, con un estilo country muy acelerado que ya presagiaba lo que habría de ser su toque rockabilly personal. En 1955 se licencía y marcha a Memphis, La Meca del rock and roll en esos dias, con un buen bagaje de composiciones propias, donde forma una banda de hillbilly llamada The Arkansas Valley Ranch Boys. Consiguieron algunas actuaciones en la radio que Billy alternaba con apariciones con un grupo de gospel. Un dia cogió a dos autoestopistas, Jack Clement y Slim Wallace, que resultaron ser dos músicos que estaban formando un estudio de grabación. Se hicieron muy amigos y juntos grabaron "Trouble bound", canción que impresiona tanto al gurú del r´n´r Sam Phillips que le ficha para su discográfica Sun. Le cambia el grupo de acompañamiento (ahora son Billy Lee Riley y sus Little Green Men, porque van siempre vestidos de verde, uno de los cuales es un joven pianista llamado Jerry Lee Lewis) y regraban "Trouble bound" en 1956, pero su primer éxito, y su canción más conocida, no llega hasta el año siguiente con "Flying saucers rock and roll", un salvaje rockabilly que gracias a una espectacular puesta en escena les convierte en el grupo revelación sureño. Lewis iniciaría su carrera en solitario gracias a los arreglos que hizo Riley para la canción "Crazy arms". En 1958 Riley graba una magnífica versión del "Red Hot" de Emerson pero Phillips no la distribuye como es debido ya que ha reservado todos los recursos de la discográfica para su nueva estrella Jerry Lee Lewis. Riley se emborracha y monta un follón en Sun que solo Phillips puede aplacar diciendole que tiene mejores planes para él. Era solo comedia, las siguientes grabaciones de Riley (no solo rockabilly sino tambien de blues y de rythm & blues) no se vendieron tampoco y rompió su contrato con Sun en 1959. Tras pasar sin pena ni gloria por otras modestas discográficas, en los ñaos 60 Billy Lee se empleó como músico de estudio para otros artistas, así fue el guitarrista del éxito de Herb Alpert "The lonely bull", y la fantástica armónica de "Houston" de Dean Martin, del "Help me Rhonda" de los Beach Boys o del "But not for me" de Sammy Davis Jr., aparte de otros acompañamientos para gente como Ricky Nelson o Johnny Rivers.

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Son of a half-Cherokee Arkansas sharecropper, Billy Lee was part of the so-called southern white trash and by the time he was 6 years old he had to be picking cotton (at that age he started playing the harmonica as a distraction during breaks). As a teenager he spent more time with black day laborers than with boys his age, and it was from them that he learned to play the guitar, mainly blues. Fleeing poverty he enlisted in the United States Navy without age to do so by falsifying his birth certificate in 1951. Although they were at war with Korea Billy Lee took time to play, to compose songs and even to record some acetate on the boat, with a very fast country style that already presaged what would be his rockabilly personal touch. In 1955 he graduated and went to Memphis, the Mecca of rock and roll in those days, with a good background of his own compositions, where he formed a hillbilly band called The Arkansas Valley Ranch Boys. They got some performances on the radio that Billy alternated with appearances with a gospel group. One day he caught two hitchhikers, Jack Clement and Slim Wallace, who turned out to be two musicians who were forming a recording studio. They became very close friends and together they recorded "Trouble bound", a song that so impresses the r'n'r guru Sam Phillips that he takes him to his label Sun. He changes the accompaniment group (now they are Billy Lee Riley and his Little Green Men, because they are always dressed in green, one of which is a young pianist named Jerry Lee Lewis) and re-recorded "Trouble bound" in 1956, but his first success, and its best-known song, does not arrive until the following year with "Flying saucers rock and roll", a savage rockabilly that thanks to a spectacular staging makes them the southern revelation group. Lewis would start his solo career thanks to Riley's arrangements for the song "Crazy arms". In 1958 Riley recorded a magnificent version of Emerson's "Red Hot" but Phillips did not distribute it properly because he has reserved all the resources of the label for his new star Jerry Lee Lewis. Riley gets drunk and rides a mess in Sun that only Phillips can placate by telling him he has better plans for him. It was just comedy, the following recordings of Riley (not only rockabilly but also blues and rythm & blues) did not sell either and broke his contract with Sun in 1959. After passing without grief or glory for other modest record companies, in the ñaos 60 Billy Lee was employed as a studio musician for other artists, such as the guitarist of Herb Alpert's hit "The lonely bull", and the fantastic harmonica of "Houston" by Dean Martin, from "Help me Rhonda" by the Beach Boys or "But not for me" by Sammy Davis Jr., apart from other accompaniments for people like Ricky Nelson or Johnny Rivers.

Billy Preston • Wildest Organ in Town

Biography by Bill Dahl

It's advantageous to get an early start on your chosen career, but Billy Preston took the concept to extremes. By age ten he was playing keyboards with gospel diva Mahalia Jackson, and two years later, in 1958, he was featured in Hollywood's film bio of W.C. Handy, St. Louis Blues, as young Handy himself. Preston was a prodigy on organ and piano, recording during the early '60s for Vee-Jay and touring with Little Richard. He was a loose-limbed regular on the mid-'60s ABC TV series Shindig, proving his talent as both a vocalist and pianist, and he built an enviable reputation as a session musician, even backing the Beatles on their Let It Be album. That impressive Beatles connection led to Preston's big break as a solo artist with his own Apple album, but it was his early-'70s soul smashes "Outa-Space" and the high-flying vocal "Will It Go Round in Circles" for A&M that put Preston on the permanent musical map. Sporting a humongous Afro and an omnipresent gap-toothed grin, Preston showed that his enduring gospel roots were never far removed from his joyous approach. He continued to perform and record throughout the '80s, '90s, and 2000s, until he fell into a coma caused by pericarditis late in 2005; sadly, he never regained consciousness and passed away on June 6, 2006.

https://www.allmusic.com/artist/billy-preston-mn0000590285/biography

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Biografía de Bill Dahl

Es ventajoso empezar pronto la carrera elegida, pero Billy Preston llevó el concepto a los extremos. A los diez años ya tocaba el teclado con la diva del gospel Mahalia Jackson, y dos años más tarde, en 1958, apareció en la biografía cinematográfica de W.C. Handy, St. Louis Blues, cuando era joven Handy. Preston fue un prodigio del órgano y el piano, grabando a principios de los 60 para Vee-Jay y haciendo giras con Little Richard. Fue un asiduo de la serie de televisión Shindig de la ABC a mediados de los 60, demostrando su talento tanto como vocalista como pianista, y construyó una envidiable reputación como músico de sesión, incluso apoyando a los Beatles en su álbum Let It Be. Esa impresionante conexión con los Beatles llevó a Preston a la gran oportunidad de ser solista con su propio álbum de Apple, pero fueron sus éxitos de soul de principios de los 70 "Outa-Space" y la voz de altos vuelos "Will It Go Round in Circles" para A&M los que pusieron a Preston en el mapa musical permanente. Con un enorme afro y una omnipresente sonrisa de dientes separados, Preston demostró que sus duraderas raíces de gospel nunca se alejaron de su alegre enfoque. Continuó actuando y grabando durante los años 80, 90 y 2000, hasta que cayó en coma por pericarditis a finales de 2005; lamentablemente, nunca recuperó la conciencia y falleció el 6 de junio de 2006.

https://www.allmusic.com/artist/billy-preston-mn0000590285/biography