Sunday, September 14, 2014

Toufic Farroukh - Drab Zeen

Drab Zeen represents one of the finest examples of this important emerging new sub-genre, Arab-jazz. The genius of this disc is how Farroukh has effortlessly melded such disparate elements as jazz trombone and saxophone, chill-beats, French vocals, acoustic piano, oud, ney, and accordion into a singly tapestry of unique sounds, all the while retaining the essential elements of each instrumental voice even as he transforms the whole into something entirely new and heretofore unheard. Farroukh has grown in every facet of his music-making: tighter and more evocative compositions, a richer and more varied sound palette, cleaner production, superior sax blowing, and a deeper groove. An altogether remarkable disc. Highest recommendation. - by Jan P. Denis, amazon.com

Artist: Toufic Farroukh
Album: Drab Zeen
Year: 2002
Label: Harmonia Mundi
Runtime: 53:12

Tracks:
1.  Fusic (Toufic Farroukh) 6:19
2.  Lili s'en fout (Toufic Farroukh) 5:51
3.  The Pain in Spain Stays Mainly in the Brain (Toufic Farroukh) 4:35
4.  Land of Milk and Money (Toufic Farroukh) 5:18
5.  Calipyge (intro) (Toufic Farroukh) 1:00
6.  Calipyge (Toufic Farroukh/Tania Saleh) 2:22
7.  Kaf skoon (intro) (Toufic Farroukh) 1:40
8.  Kaf skoon (Toufic Farroukh) 4:38
9.  L'homme qui a perdu son ombre (Toufic Farroukh/Laurent Gehant) 4:57
10.  A Night in Damascus (Toufic Farroukh) 4:10
11.  Bilan actuel (Toufic Farroukh/Laurent Gehant) 3:51
12.  Blues for Ali (Toufic Farroukh) 4:31
13.  Petites mains et longues jambes... (Toufic Farroukh/Laurent Gehant) 3:53

Personnel:
Toufic Farroukh (Bendir, Percussion, Tenor Saxophone, Soprano Saxophone, Bouzouki, Piano and Vocals)
Bassam Saba (Nay) - 1,2,4-13
Keya Tabassian (Setar) - 1,2,5-9,12
Nabil Khalidi (Banjo, Oud) - 1,2,4-6,9-11,13
Leandro Aconcha (Synthesizer, Organ and Piano) - 1-4
Gueorgui Kornazov (Trombone) - 1,2,10,11
Jean Wellers (Double Bass, Viola and Rhythmic Violin)
Ali Alkhatib (Req and Bendir) - 1,2,4-13
Tania Saleh (Vocals) - 1,5-8
Yasmine Hamdan (Vocals and Voice) - 2,9,13
Antoine Khalifé (Violin) - 2,4-6,10,11,13
J.J. Sage (Backing Vocals, Bass Guitar and Folk Guitar) - 2,4,11,12
Ibrahim Jaber (Udou) - 2,5,6,9,10
Tony Dib (Accordion) - 2,4-6,10,11
Mounir Khauli (Acoustic and Electric Guitar) - 2,11
Nicole Choueiry (Vocals) - 1,4
Saad Menkara (Voice) - 3,4
J.M. Hure (Guitar) - 4,7,8
Charbel Rouhana (Oud) - 10
Najawa Abou Alhessein (Voice) - 11
Rabih Lamah (Vocals) - 11
Phil Tohme (Vocals) - 12
DJ Roger (Scratch) - 2

Monday, September 8, 2014

Georgie Fame - Walking Wounded

At least once a year, usually just before the holiday season, Georgie Fame takes up residency at Ronnie Scott’s club in London. This particular recording was done during November, 1995.Having the legendary Georgie Fame sitting behind the Hammond organ, night after night, in a London club is wonderfully reminiscent of the time, more than thirty years ago, when he held held court at the Flamingo Club. Back then, in the early sixties, it wasn’t just for a week or two at a stretch, but for months at a time. He was at the heart of the ongoing scene, where American servicemen, budding British rockers and Georgie himself mixed it up and, ultimately created a musical stew that went on to change the pop scene the world over. So this recording takes its place in the pantheon of great Georgie Fame moments. So this record is full of spirits, spirits of great men who made the music, great moments when it was made and great places where the musicians held forth. Today, even the owner and namesake of the club where this album was recorded -- saxophonist Ronnie Scott -- is no longer with us. Yet Georgie Fames carries on with the good work, and is aware of his role in preserving and passing along the great jazz spirit.To that end, he has enlisted the able assistance of some of his favorite people to make this passage possible. The front line of the band includes some of Britain’s finest players, trumpet man Guy Barker, tenor saxophonist Alan Skidmore, alto saxophonist Peter King and Anthony Kerr on vibes. In the rhythm section is his regular bassist (and dapper man about town) Geoff Gascoyne along with the Powell brothers, Tristan on guitar and James on drums. These two boys have grown up with Georgie Fame’s music and are helping him carry the torch into the next century.It is our great pleasure and distinct honor here at Go Jazz to join hands with them all and fall in step. - by Ben Sidran (from liner notes)

Artist: Georgie Fame
Album: Walking Wounded (Live at Ronnie Scott's)
Year: 1998
Label: Go Jazz
Runtime: 72:40

Tracks:
1.  Eros Hotel (Georgie Fame/F. Landesman) 6:08
2.  If You Live (Mose Allison) 3:57
3.  Yeh Yeh (Rodgers Grant/Jon Hendricks/Pat Patrick) 3:52
4.  Moondance/Blue Moon (Van Morrison/Richard Rodgers/Lorentz Hart) 12:23
5.  How Long This Has Been Going On (George Gershwin/Ira Gershwin) 8:23
6.  Cape Cuckoo (Georgie Fame) 5:02
7.  Abide With Me (Henry Francis Lyte/Thelonious Monk) 2:03
8.  The Woodshed Intro (Georgie Fame/Peter King) 1:39
9.  The Woodshed (Georgie Fame/Peter King) 6:45
10.  It Happened to Me/My Buddy (Georgie Fame) 11:01
11.  Zavolo (Zaks Nikosi) 11:27

Personnel:
Georgie Fame (Hammond Organ, Piano and Vocals)
Guy Barker (Trumpet)
Anthony Kerr (Vibraphone)
Alan Skidmore (Tenor Saxophone)
Peter King (Alto Saxophone)
Geoff Gascoyne (Double Bass)
Tristan Powell (Guitar)
James Powell (Drums)

Wednesday, August 27, 2014

Fairy Tale Trio - Jazz Across the Border

The Fairy Tale Trio plays a kind of hybrid music combining elements of Bulgarian folk music and jazz. Kaval player Theodosii Spassov has developed a style that allows him more chromatic and timbral possibilities than previously associated with that instrument, while soprano saxist Anatoly Vapirov can go from tricky folk melodies to Coltrane-like wailing in the space of a few notes. The trio is rounded out by percussionist Stoyan Yankoulov, who uses mostly the traditional tupan (a double-headed drum, played with sticks) with a few modern additions. The music, composed by the trio, makes full use of their resources. There are a few odd-meter rave-ups, but there are also some quieter, textural pieces. The kaval and soprano sax take turns soloing and supporting each other, while the percussion supplies a sturdy rhythmic framework. There are also a few solos and duets that, along with great attention paid to dynamics, help keep the sound varied and interesting. In its more peaceful moments this reminds me a little of Codona, the old Don Cherry-Collin Walcott project. Then the musicians turn up the heat and could be mistaken for an Art Ensemble of Chicago offshoot. But the approach taken here is a melding rather than a juxtaposition, with the jazz elements logically flowing from the Bulgarian roots, and as such is one of the more successful folk-jazz fusions I've heard in some time.- by Joe Grossman, RootsWorld

Artist: Fairy Tale Trio
Album: Jazz Across the Border
Year: 1998
Label: Wirgo
Runtime: 52:21

Tracks:
1.  Karandila (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 5:18
2.  Lastuna (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 2:02
3.  The House Behind the River (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 7:14
4.  Cadence in Green (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 2:33
5.  Samotek (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 7:45
6.  Sun Sanuvah (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 5:43
7.  Chorovod (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 2:24
8.  Marvellous Pig Stories (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 4:08
9.  Shepherd's Baroque (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 3:02
10.  Gornjak (Theodosii Spassov/Anatoly Vapirov/Stoyan Yankulov) 4:16
11.  Shuma (Ljobomir Pipkow) 7:50

Personnel:
Theodosii Spassov (Kaval and Voice)
Anatoly Vapirov (Soprano Saxophone)
Stoyan Yankulov (Tupan and Percussion)

Wednesday, August 13, 2014

Bill Evans Trio - Since We Met

This album captures the best Bill Evans Trio (Eddie Gomez on bass and Marty Morell on drums) at the peak of their creative powers in a jaw-dropping performance. This is an absolutely flawless gem, musically. Bill plays like an angel. I have listened to this album well over 1000 times since I first bought it back in the mid-seventies. I wore out 2 vinyl records - fortunately I bought a 3rd, which I still treasure! I also enjoy the CD. This is a live album, recorded at the Village Vanguard. The recording quality is not the best; however, the music itself immediately transcends the limitations of the recording setup, grabs you by your soul and never lets go. Each exceedingly lovely piece is an inexhaustible mine of pure gold. I am constantly delighted. I had the great good fortune of meeting and chatting with Bill Evans at a couple of his concerts. I consider that I met the greatest pianist who has ever lived. His playing, especially as evidenced on this album, places him virtually alone at the summit of jazz-piano artistry. He reaches inside you and touches the deepest recesses of your heart. The opening solo piano work on 'Since We Met' floors me; the depth of feeling on 'Time Remembered' brings tears to my eyes; 'Sareen Jurer' flows like a river of... well, you get the idea. This must be what it sounds like in heaven. - by Scorpio69, Amazon.com

Thirteen years after his legendary Village Vanguard recordings, Bill Evans recorded Since We Met at the famous New York establishment again. Using his trio of the era (which includes bassist Eddie Gómez and drummer Marty Morell), Evans explores both familiar ("Time Remembered," "Turn Out the Stars" and "But Beautiful") and new (Joe Zawinul's "Midnight Mood," "See-Saw" and "Sareen Jurer") material. This CD reissue gives listeners a good example of Bill Evans' early-'70s trio as it typically sounded in clubs. - by Scott Yanow, AMG

Artist: Bill Evans Trio
Album: Since We Met (Live at Village Vanguard)
Year: 1974
Label: OJC (1991)
Runtime: 46:16

Tracks:
1.  Since We Met (Bill Evans) 8:52
2.  Midnight Mood (Ben Raleigh/Joe Zawinul) 6:52
3.  See-Saw (Cy Coleman) 6:53
4.  Sareen Jurer (Earl Zindars) 6:40
5.  Time Remembered (Bill Evans) 5:27
6.  Turn Out the Stars (Bill Evans) 5:08
7.  But Beautiful (Johnny Burke/James Van Heusen) 6:21

Personnel:
Bill Evans (Piano)
Eddie Gomez (Double Bass)

Marty Morell (Drums)

Tuesday, August 5, 2014

Kudsi Erguner - Ottomania - Sufi Jazz Project

Kudsi Erguner’s Ottomania is the first World Music project that integrates the classical music of the Ottoman Empire with Western jazz improvisations and rhythms. It documents the story of a remarkable musical encounter, and is a logical continuation of Erguner’s eventful life.

Artist: Kudsi Erguner
Album: Ottomania - Sufi Jazz Project
Year: 1999
Label: ACT
Runtime: 49:31

Tracks:
1.  Semai (Mesut Cemil Bey) 5:48
2.  Sufimaj (Kudsi Erguner) 4:37
3.  Dua (Kudsi Erguner) 12:55
4.  Free space (Kudsi Erguner) 7:46
5.  Nefes (Kudsi Erguner) 9:06
6.  Hi-Jaz (Kudsi Erguner) 9:17

Personnel:
Kudsi Erguner (Ney)
Christof Lauer (Saxophone)
Derya Turkan (Kemence)
Michel Godard (Tuba)
Mehmet Emin Bitmez (Ud)
Yves Rousseau (Double Bass)
Hakan Gungor (Kanun)
Bruno Caillat (Percussion)
Necib Gulses (Tanbur)
Mark Nauseef (Drums)

Tuesday, July 29, 2014

Herbie Mann - Muscle Shoals Nitty Gritty

Although it followed a formula similar to the hugely successful Memphis Underground, Muscle Shoals Nitty Gritty stands on its own as a superb example of the fusion of jazz with '60s soul music, a genre that Herbie Mann stood atop at the time of its release. In addition to Mann band members Roy Ayers, Miroslav Vitous and Bruno Carr, the recording employs the Muscle Shoals rhythm section that had played together on numerous soul hits of the '60s, including those of Aretha Franklin. Standout cuts include the title track, with the its horn-driven groove; Sharrock's "Blind Willy," featuring a jew's-harp hook; and a smoldering version of Lennon & McCartney's "Come Together." Throughout the album, Mann's solos wail through the upper register of the flute, while Ayers finds interestingly funky passages on the vibes. - by Jim Newsom, AMG

TRY to do the impossible and just tune out the fact that Herbie Mann was responsible for that blasphemous "Hi Jack" thing during the depths of the disco phase in the late seventies. This remarkable album was recorded in 1970, at/with Muscle Shoals. You know all the Shoals alumni, they're all here on the record, and, funny, they don't sound a'TALL like they did with Wilson Pickett - which is NOT to be interpreted as a "slap," they're just displaying what consumate, remarkable musicians they are. If, for nothing else though, track #5, where Herbie tears into the Beatles' "Come Together" - oh, man, just dig how future Weather Report bassist Miroslav Vitous locks in with Shoals' own bassist-extraordinare David Hood - this is the only, I mean the ONLY time where a Beatles' song has been "covered" by another artist, and the new bass part isn't an insult to Paul McCartney. by "Bill Board", Amazon.com

Artist: Herbie Mann
Album: Muscle Shoals Nitty Gritty
Year: 1969
Label: WEA Japan (2014)
Runtime: 37:06

Tracks:
1.  Muscle Shoals Nitty Gritty (Herbie Mann) 6:54
2.  Claudia Pie (Herbie Mann) 4:41
3.  Can You Dig It (Edwin Birdsong) 5:17
4.  Blind Willy (Sonny Sharrock) 4:50
5.  Come Together (John Lennon/Paul McCartney) 10:10
6.  Panana Red's Panama Hat (Herbie Mann) 5:10

Personnel:
Herbie Mann (Flute)
Roy Ayers (Vibraphone)
Eddie Hinton (Guitar)
Barry Beckett (Piano)
David Hood (Double Bass)
Miroslav Vitous (Double Bass) - 5
Roger Hawkins (Drums) - 1-3,6
Bruno Carr (Drums) - 4,5
Jimmy Johnson (Guitar)
Wayne Jackson (Trumpet) - 1-4

Monday, July 14, 2014

Pee Wee Ellis - Ridin' Mighty High

The previous review should probably be ignored. The reviewer states 'He didn't do his due diligence... that this CD is gospel-based, not funk, as in Pee Wee's work with James Brown.' The first clue should have been the CD art shows Pee Wee standing in front of a church. On Amazon.com and other digital retailers, we have the opportunity to listen to track samples. It's important to actually do that. The review of one star of one star is not grading the CD for what it is, but rather what the buyer thought it should be. Pee Wee Ellis has a lifetime of soul, jazz, and gospel recording and performance, on his own, and as a sideman/collaborator with many other performers.This CD includes guest vocalists, including: Fred Ross, Lenny Williams (lead singer, Tower of Power, 1973 -1975), Shana Morrison, and Emma Jean Foster. For me, the two highlight tracks are: Gospel classic, 'How I Depend On You' - vocals - Fred Ross and 'Grandma's Hands' - vocals - Lenny Williams. - by Andrew R. Ebon, Amazon.com

Artist: Pee Wee Ellis (Alfred Elis)
Album: Ridin' Mighty High
Year: 2000
Label: Skip Records
Runtime: 66:17

Tracks:
1.  How I Depend On You (Doug Williams) 4:25
2.  What's Up With That? (Alfred Ellis) 6:23
3.  Oh My God (Chris Hayes/Alfred Ellis/Luther Carter/Scott Matthews) 5:33
4.  Grandma's Hands (Bill Withers) 5:34
5.  Shake A Hand (Joe Morris) 5:25
6.  Mighty High (David Crawford/Richard Downing) 4:25
7.  Blues Alley (Alfred Ellis) 3:44
8.  Goin' Up Yonder (Walter Hawkins) 4:43
9.  Mary Don't You Weep (Traditional) 5:44
10.  How Great Thou Art/The Old Rugged Cross (Traditional) 11:01
11.  Oh My God (d-phunk Remix) 5:04
12.  Mighty High (d-phunk Remix) 4:12

Personnel:
Pee Wee Ellis (Tenor Saxophone, Backing Vocals, Piano)
Chris Hayes (Guitar) - 1-9
Curtis Ohlson (Bass Guitar) - 1-9
John Mader (Drums) - 1-9
Jim Pugh (Hammond Organ) - 1,3-9
Nate Ginsberg (Synthesizer) - 1,6,7
Scott Mathews (Percussion, Backing Vocals) - 1-3,5,7-9
Emma Jean Foster (Backing Vocals, Vocals) - 5,7-10
Dallis Craft (Backing Vocals) - 5,7,8
Fred Ross (Vocals) - 1
Luke Styles (Rap) - 3
John Hunt (Trumpet) - 3,4
Johnny Myers (Trombone) - 3,4
Lenny Williams (Vocals) - 4
David Sturdevant (Harmonica, Backing Vocals) - 4,5,8
Shana Morrison (Vocals) - 5
Sabine Bachmann (Backing Vocals) - 5
Ron Sutherland (Piano) - 10

Monday, July 7, 2014

Duke Ellington & John Coltrane

For this classic encounter, Duke Ellington "sat in" with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of "In a Sentimental Mood" is a high point, and such numbers as "Take the Coltrane," "Big Nick," and "My Little Brown Book" are quite memorable. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius. - by Scott Yanow, AMG

Duke Ellington and John Coltrane are, individually, two tremendously influential and vital figures in the world of jazz who could do no wrong as far as I'm concerned. But when you combine their talents on record, then you have a recording that's not only music, it's also a piece of history. Though it's a brisk ride at 35 minutes in length, this collaborative effort brings out the best of both worlds during these seven tracks. "In a Sentimental Mood" is a stroke of brilliance: Ellington's angelic piano touches are set to Coltrane's velvet-smooth sax during this gentle number. It's a classic for the ages that must be heard to be believed. The tempo picks up in "Take the Coltrane," which has both in solid harmony. Few tracks can top the ultrasuave swagger of "Stevie," and the slow number "My Little Brown Book" has smooth touches which are underscored by Coltrane's light sax and drums by Sam Woodyard. A mastery of style, technique, and substance, this album is one of those must-have items that'll make your collection all the more complete. Duke Ellington. John Coltrane. Two visionaries. One album. Who can ask for anything more? - by The Groove, Amazon.com

Artist: Duke Ellington & John Coltrane
Album: Duke Ellington & John Coltrane
Year: 1962
Label: Impulse! (1995, 20bit remastered)
Runtime: 34:58

Tracks:
1.  In A Sentimental Mood (Duke Ellington/Manny Kurtz/Irving Mills) 4:17
2.  Take The Coltrane (Duke Ellington) 4:44
3.  Big Nick (John Coltrane) 4:31
4.  Stevie (Duke Ellington) 4:26
5.  My Little Brown Book (Billy Strayhorn) 5:23
6.  Angelica (Duke Ellington) 5:57
7.  The Feeling Of Jazz (Duke Ellington/George T. Simon/Bobby Troup) 5:38

Personnel:
John Coltrane (Tenor Saxophone, Soprano Saxophone)
Duke Ellington (Piano)
Jimmy Garrison (Double Bass) - 2,3,6
Aaron Bell (Double Bass) - 1,4,5,7
Elvin Jones (Drums) - 1-3,6

LinkWithin

Related Posts Plugin for WordPress, Blogger...