In this classic work of American music writing, renowned critic
Albert Murray argues beautifully and authoritatively that “the blues as
such are synonymous with low spirits. Not only is its express purpose
to make people feel good, which is to say in high spirits, but in the
process of doing so it is actually expected to generate a disposition
that is both elegantly playful and heroic in its nonchalance.”
In Stomping the Blues
Murray explores its history, influences, development, and meaning as
only he can. More than two hundred vintage photographs capture the
ambiance Murray evokes in lyrical prose. Only the sounds are missing
from this lyrical, sensual tribute to the blues.
From
scouring flea markets and eBay to maxing out their credit cards, record
collectors will do just about anything to score a long-sought-after
album. In Vinyl Freak,
music writer, curator, and collector John Corbett burrows deep inside
the record fiend’s mind, documenting and reflecting on his decades-long
love affair with vinyl. Discussing more than 200 rare and out-of-print
LPs, Vinyl Freak is composed in part of Corbett's long-running DownBeat
magazine column of the same name, which was devoted to records that had
not appeared on CD. In other essays where he combines memoir and
criticism, Corbett considers the current vinyl boom, explains why vinyl
is his preferred medium, profiles collector subcultures, and recounts
his adventures assembling the Alton Abraham Sun Ra Archive, an event so
all-consuming that he claims it cured his record-collecting addiction.
Perfect for vinyl newbies and veteran crate diggers alike, Vinyl Freak plumbs the motivations that drive Corbett and collectors everywhere.
Inspired to switch from piano to organ by Jimmy Smith, Don Patterson was
one of the Hammond B-3's most bop-rooted players, able to play bluesy
soul-jazz grooves or break out of the pocket for some nimble, sharply
defined solo lines. Though he led numerous recording dates for Prestige
and later Muse, he was best-known as Sonny Stitt's favorite organist,
proving eminently compatible with the Parker-influenced saxophonist.
Patterson was born in Columbus, OH, on July 22, 1936, and began studying
piano as a child. His first major influence was Erroll Garner, and some
of that flavor remained in his playing even after he heard Jimmy Smith
in 1956 and changed instruments. Patterson made his professional debut
on the organ in 1959, and played with a number of groups before Stitt
discovered him. The association helped make Patterson's name, and he
began recording for Prestige in 1964, often with a trio featuring
guitarist Pat Martino and drummer Billy James. Patterson also played
with numerous other soul-jazz sax greats over the course of the '60s,
before settling in Gary, IN, toward the end of the decade. Drug
addiction curtailed his recording activities somewhat, as only a few
sporadic sessions for Muse appeared during the '70s. He did revive his
career somewhat after moving to Philadelphia, but his health worsened,
forcing him to take dialysis frequently; he died on February 10, 1988.
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Biografía:
Inspirado por Jimmy Smith para pasar del piano al órgano, Don Patterson
fue uno de los intérpretes más arraigados del Hammond B-3, capaz de
tocar ritmos de soul-jazz o de salir del bolsillo para obtener líneas
solistas ágiles y bien definidas. Aunque dirigió numerosas grabaciones
para Prestige y más tarde para Muse, era más conocido como el organista
favorito de Sonny Stitt, demostrando ser eminentemente compatible con el
saxofonista influenciado por Parker. Patterson nació en Columbus, OH,
el 22 de julio de 1936, y comenzó a estudiar piano de niño. Su primera
gran influencia fue Erroll Garner, y parte de ese sabor permaneció en su
forma de tocar incluso después de escuchar a Jimmy Smith en 1956 y
cambiar de instrumento. Patterson debutó profesionalmente en el órgano
en 1959, y tocó con varios grupos antes de que Stitt lo descubriera. La
asociación ayudó a hacer el nombre de Patterson, y comenzó a grabar para
Prestige en 1964, a menudo con un trío que incluía al guitarrista Pat
Martino y al baterista Billy James. Patterson también tocó con muchos
otros grandes del saxo soul-jazz durante los años 60, antes de
establecerse en Gary, IN, hacia el final de la década. La adicción a las
drogas redujo un poco sus actividades de grabación, ya que sólo unas
pocas sesiones esporádicas de Muse aparecieron durante los 70. Revivió
un poco su carrera después de mudarse a Filadelfia, pero su salud
empeoró, forzándolo a tomar diálisis frecuentemente; murió el 10 de
febrero de 1988.
Pianist Hampton Hawes' first recording after serving five years in prison finds Hawes evolving a bit from a Bud Powell-influenced bop pianist to one familiar with more modern trends in jazz. Reissued on CD, this trio date finds Hawes interacting closely with bassist Monk Montgomery and drummer Steve Ellington (making his recording debut). Hawes had lost nothing of his swinging style while in prison, as can be heard on such numbers as "Vierd Blues," "St. Thomas" and "Secret Love," and he was just starting to hint at moving beyond bop. Recommended.
La primera grabación del pianista Hampton Hawes, después de cumplir cinco años en prisión, muestra que Hawes evoluciona un poco desde un pianista de influencia de Bud Powell a uno familiarizado con las tendencias más modernas del jazz. Reeditado en CD, este trío cita a Hawes interactuando estrechamente con el bajista Monk Montgomery y el baterista Steve Ellington (haciendo su debut en la grabación). Hawes no había perdido nada de su estilo de swing mientras estaba en prisión, como se puede escuchar en números como "Vierd Blues", "St. Thomas" y "Secret Love", y estaba empezando a insinuar que se iba más allá del bop. Recomendado.
