tag:blogger.com,1999:blog-81849587385809501012024-03-13T14:11:38.211-07:00into the rhythmitrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.comBlogger711125tag:blogger.com,1999:blog-8184958738580950101.post-16762319104422906102021-02-20T03:28:00.002-08:002021-02-20T03:28:17.080-08:00Luiz Bonfa - Six Classic Album II<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AsuEZmzSURs/YDDxkX8Rb4I/AAAAAAAA0AE/_NMi5S4TJ3829CrrCFFOk6AyJZoO7NWygCLcBGAsYHQ/s500/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="500" src="https://1.bp.blogspot.com/-AsuEZmzSURs/YDDxkX8Rb4I/AAAAAAAA0AE/_NMi5S4TJ3829CrrCFFOk6AyJZoO7NWygCLcBGAsYHQ/s320/cover.jpg" width="320" /></a></div><br /><p></p><div style="text-align: left;">Artist: Luiz Bonfa<br />Album: Six Classic Album II<br />Amor! The Fabolous Guitar (1958, Atlantic) 1-8; Ritmos Continentais (1958, Odeon) 9-15.<br />Year: 2018<br />Label: Reel To Reel Music<br />Runtime: 52:51</div><p><b>Tracks:</b><br />1. Old Times (Velhos Tempos) (Luiz Bonfa) 2:45 <br />2. Marajo (Luiz Bonfa) 2:06 <br />3. Indian Dance (Luiz Bonfa) 1:21 <br />4. Nelly (Luiz Bonfa) 2:35 <br />5. Preludio (Luiz Bonfa) 1:41 <br />6. Yesterdays (Jerome Kern / Otto Harbach) 2:12 <br />7. Bagpipes (Luiz Bonfa) 1:46 <br />8. Arabesque (Luiz Bonfa) 1:58 </p><div style="text-align: left;">9. Medley 20:07 <br />10. Morena Boca De Ouro (Ary Barroso) 2:48 <br />11. Verenda Tropical (Gonzalo Curiel) 2:57 <br />12. Melodiando (Luiz Bonfa) 3:00 <br />13. Eclipse (Margarita Lecuona) 2:45 <br />14. Na Baixa Do Sapaterio (Ary Barroso) 2:43 <br />15. Swinging in Madrid (Luiz Bonfa) 2:07 <br /><br /></div><div style="text-align: left;"><b>Personnel:</b><br />Luiz Bonfa (Guitar) <br />Jorge Henrique (Organ) - 1-8 <br />Eduardo Lincoln (Double Bass) - 1-8<br />Tommy Lopez (Congas, Bongos) - 1-8 <br />Joao Stockler (Drums) - 1-8 <br />Ralph Freundlich (Flute) - 1-8<br />Don Elliott (Mellophone, Triangle, Vibraphone) - 1-8</div>itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com6tag:blogger.com,1999:blog-8184958738580950101.post-15971940327687231902020-08-11T03:05:00.001-07:002020-08-11T03:07:28.029-07:00Luiz Bonfa - Six Classic Album I<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-D1IRhVbIRCc/XzJsoIvrqDI/AAAAAAAAyEA/RNyAQ1Q0jCEc-0rJqTEqIftvwUbBkKfTQCLcBGAsYHQ/s500/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="500" src="https://1.bp.blogspot.com/-D1IRhVbIRCc/XzJsoIvrqDI/AAAAAAAAyEA/RNyAQ1Q0jCEc-0rJqTEqIftvwUbBkKfTQCLcBGAsYHQ/s0/cover.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Amor! The Fabolous Guitar:</div><p></p><div class="separator" style="clear: both;"><div class="separator" style="clear: both;">This CD is more like American easy listening music than the Brazilian music I associate with Luis Bonfa. Some of the songs have flute or horn with guitar background. Even so, it is very well performed and recording quality is very good. He does three songs that he did not write and this makes the flavor of his music obvious. As usual the guitar work is superb. There doesn't seem to be the passion as in some of his other work, perhaps because of the ensemble format. Some of the songs are too short or at least for me I wish they could have been extended. In summary, I would say this was easy listening with a little bit of Brazilian flavor. Bonfa's guitar is always beautiful and enjoyable. You can't go wrong if you enjoy guitar music to go with Luiz Bonfa. - <i><span style="font-size: small;">by Lee Whiteside, Amazon.com</span></i></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Artist: Luiz Bonfa</div><div class="separator" style="clear: both;">Album: Six Classic Album I</div><div class="separator" style="clear: both;">De Cigarro en Cigarro (1956, Atlantic) 1-8; Amor! The Fabolous Guitar (1958, Atlantic) 9-15.</div><div class="separator" style="clear: both;">Year: 2018</div><div class="separator" style="clear: both;">Label: Reel To Reel Music</div><div class="separator" style="clear: both;">Runtime: 37:10</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Tracks:</b></div><div class="separator" style="clear: both;">1. De Cigarro en Cigar (Luiz Bonfa) 3:08 </div><div class="separator" style="clear: both;">2. Over the Rainbow (Harold Arlen / E.Y. "Yip" Harburg) 2:53 </div><div class="separator" style="clear: both;">3. Meu sonho (Gui Boratto / Ramilson Maia) 2:40 </div><div class="separator" style="clear: both;">4. Carnaval de Ontem (Luiz Bonfa) 2:37 </div><div class="separator" style="clear: both;">5. Esquiando (Luiz Bonfa) 2:18 </div><div class="separator" style="clear: both;">6. Adios (Luiz Bonfa) 2:29 </div><div class="separator" style="clear: both;">7. The Song Is You (Jerome Kern) 3:29 </div><div class="separator" style="clear: both;">8. Te Quiero....Dijiste (María Mendez Grever / Charles Pasquale) 2:36 </div><div class="separator" style="clear: both;">9. Brasilia (Luiz Bonfa) 2:16 </div><div class="separator" style="clear: both;">10. I'll Remember April (Don Raye / Gene DePaul) 2:33 </div><div class="separator" style="clear: both;">11. Lonely Lament (Luiz Bonfa) 2:35 </div><div class="separator" style="clear: both;">12. Carnival (Luiz Bonfa) 1:42 </div><div class="separator" style="clear: both;">13. George Back In Town (Luiz Bonfa) 1:33 </div><div class="separator" style="clear: both;">14. Blue Madrid (Luiz Bonfa) 1:50 </div><div class="separator" style="clear: both;">15. Island Of Trinidade (Luiz Bonfa) 2:31 </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Personnel:</b></div><div class="separator" style="clear: both;">Luiz Bonfa (Guitar) </div><div class="separator" style="clear: both;">Jorge Henrique (Organ) - 1-8 </div><div class="separator" style="clear: both;">Eduardo Lincoln (Double Bass) - 1-8 </div><div class="separator" style="clear: both;">Joao Stockler (Drums) - 1-8 </div><div class="separator" style="clear: both;">George Shearing (Piano) - 9-15 </div><div class="separator" style="clear: both;">Tommy Lopez (Bongos, Congas) - 9-15 </div><div class="separator" style="clear: both;">Ralph Freundlich (Flute) - 9-15 </div><div class="separator" style="clear: both;">Don Elliott (Mellophone, Triangle, Vibraphone) - 9-15 </div></div>itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com5tag:blogger.com,1999:blog-8184958738580950101.post-59536843218979624582020-03-14T06:07:00.002-07:002020-03-14T06:08:48.973-07:00Herbie Mann- First Light - The Family of Man<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-KQb1GrNtafM/XmzWtUiXFoI/AAAAAAAAvUA/HD2eN3UTLfQxCNbI03eTOPePMSk8L16egCEwYBhgL/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="450" height="320" src="https://1.bp.blogspot.com/-KQb1GrNtafM/XmzWtUiXFoI/AAAAAAAAvUA/HD2eN3UTLfQxCNbI03eTOPePMSk8L16egCEwYBhgL/s320/cover.jpg" width="320" /></a></div>
Actually released as a "band" recording by the Family of Mann, First Light offers an enjoyable mix of accessible, melodic jazz penned by Herbie Mann and his band mates. In addition to Mann's flute and alto flute, Sam Brown's tasty acoustic guitar work and David Newman's smoky tenor sax highlight the album. Longtime Mann collaborator and keyboardist Pat Rebillot provides solid support along with the rhythm section made up of studio stalwarts Tony Levin and Steve Gadd. This album is more laidback than most of the Mann catalog from the era, with the rhythmic variations and complementary interplay between the musicians contributing to the feeling of a real band. First Light is one of the classiest and most unified recordings of Herbie Mann's long career. - <i><span style="font-size: x-small;">by Jim Newsom, AMG</span></i><br />
<br />
Artist: Herbie Mann<br />
Album: First Light - The Family of Mann<br />
Year: 1974<br />
Label: Warner Japan (24bit remastered)<br />
Runtime: 39:09<br />
<br />
<b>Tracks:</b><br />
1. Toot Stick 2:20 (Herbie Mann)<br />
2. Davey Blue 4:37 (David Newman)<br />
3. Daffodil 2:58 (Tony Levin)<br />
4. The Turtle and the Frog 2:40 (Herbie Mann / Steve Gadd)<br />
5. Muh Hoss Knows the Way 2:18 (Sam Brown)<br />
6. Music Is a Game We Play 4:37 (Tony Levin)<br />
7. Sunrise Highs 9:17 (Sam Brown)<br />
8. Thank You Mr. Rushing 3:05 (Pat Rebillot)<br />
9. Mexicali 4:17 (Herbie Mann)<br />
10. Lullaby for Mary Elizabeth 3:00 (Herbie Mann / Steve Gadd)<br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Flute)<br />
Tony Levin (Bass Guitar)<br />
Steve Gadd (Drums, Kalimba)<br />
Sam Brown (Guitar)<br />
Pat Rebillot (Keyboards)<br />
Armen Halburian (Percussion)<br />
David "Fathead" Newman (Tenor Saxophone, Flute)<br />
Carlos "Patato" Valdes (Congas) - 1itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com1tag:blogger.com,1999:blog-8184958738580950101.post-37523853629198394962019-09-26T02:09:00.000-07:002019-09-26T02:09:58.842-07:00Herbie Mann - Waterbed<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-xk58RTijOzE/XYx89o8mytI/AAAAAAAAsXo/iw5YPdQ6lPwia056M81tjEfdM60UO1hjgCLcBGAsYHQ/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-xk58RTijOzE/XYx89o8mytI/AAAAAAAAsXo/iw5YPdQ6lPwia056M81tjEfdM60UO1hjgCLcBGAsYHQ/s320/cover.jpg" width="320" /></a></div>
If you need an example of how jazz critics and soul/funk audiences didn't see eye to eye in the 1970s, you need look no further than Herbie Mann. Many jazz critics hated commercial Mann LPs like Discotheque and Waterbed with a passion, and saw them as examples of a gifted virtuoso dumbing his music down in order to sell more records. But young soul and funk lovers -- the ones who made 1975's "Hijack" a hit on black radio -- were digging Mann and didn't understand why jazz snobs had it in for him. Although it contains a funky version of Ben Tucker's "Coming Home, Baby," Waterbed is a vocal-oriented soul/funk project first and foremost. In fact, it's one of the strongest commercial albums he recorded, thanks to memorable cuts that range from the infectious title song and the haunting "Body Oil" to remakes of Ray Charles' "I Got a Woman" and Joe Cuba's "Bang! Bang!." A dynamo of a singer, Cissy Houston (Whitney Houston's mother) has an excellent spot on the dusky "Violent Don't Be Blue" -- it's too bad she would eventually give up secular music altogether. Unfortunately, Waterbed has long been out of print, but it's worth trying to find if you're a fan of 1970s soul/funk. - <i><span style="font-size: x-small;">by Alex Henderson, AMG</span></i><br />
<br />
Artist: Herbie Mann<br />
Album: Waterbed<br />
Year: 1975 (Atlantic Records)<br />
Label: Warner Japan <span style="font-size: x-small;">(2014, 24bit remastered)</span><br />
Runtime: 37:40<br />
<br />
<b>Tracks:</b><br />
1. Waterbed (Melvin Barton / Walter Chiles) 3:51 <br />
2. Comin' Home Baby (Benjamin Tucker / Bob Dorough) 5:35<br />
3. Paradise Music (Herbie Mann) 4:57<br />
4. Bang! Bang! (Jimmy Sabater / Joe Cuba) 4:51<br />
5. Deus Xango (Astor Piazzolla) 4:37<br />
6. Violet Don't Be Blue (Pat Kirby / Pat Rebillot) 5:10<br />
7. I Got A Woman (Ray Charles) 3:50<br />
8. Body Oil (Herbie Mann) 4:49<br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Flute)<br />
Cissy Houston (Backing Vocals)<br />
Eunice Peterson (Backing Vocals)<br />
Sylvia Shemwell (Backing Vocals)<br />
Tony Levin (Bass Guitar) - 2-4,8<br />
Will Lee (Double Bass) - 1,5-7<br />
Michael Rudiakov (Cello) - 3-6,8<br />
Steve Gadd (Drums) - 1-4,6-8<br />
Bob Mann (Guitar) - 2-4,8<br />
Hugh McCracken (Guitar) - 2-4,8<br />
Jeff Mironov (Guitar) - 1,5-7<br />
Armen Halburian (Percussion) - 2-4,8<br />
Ralph MacDonald (Percussion) - 2-4,8<br />
Ray Barretto (Percussion) - 2-4,8<br />
Ray Mantilla (Percussion) - 2-4,8<br />
Jean Dane (Viola) - 3-6,8<br />
Anahid Ajemian (Violin) - 3-6,8<br />
Matthew Raimondi (Violin) - 3-6,8<br />
David Newman (Tenor Saxophone) - 1,7<br />
Alan Schwartzberg (Drums) - 5<br />
Darryl Washington (Drums) - 5itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com6tag:blogger.com,1999:blog-8184958738580950101.post-48442978148663377492019-06-26T05:58:00.000-07:002019-06-26T05:58:25.460-07:00Eric Burdon & War - Love Is All Around<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-5rU51Bvuu_o/XRNjMTYR4KI/AAAAAAAAq2Y/AMG3hgsGrIwj9YfOw9PPB-EriVY4EThwgCLcBGAs/s1600/EBW_Love_fr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-5rU51Bvuu_o/XRNjMTYR4KI/AAAAAAAAq2Y/AMG3hgsGrIwj9YfOw9PPB-EriVY4EThwgCLcBGAs/s320/EBW_Love_fr.jpg" width="320" /></a></div>
An odd collection of live tracks and what sound like cuts from the two Eric
Burdon and War albums released at the turn of the '70s, 1976's LOVE IS ALL
AROUND was probably a contractual obligation album. That said, it's a pretty
terrific collection of long, loose War jams, which sound marvelous. Limber
rhythms and dead-on horn and harmonica accents made this L.A. band one of the
premier funk outfits of the '70s. Unfortunately, as was usually the case with
Eric Burdon and War, their free-flowing funkiness and his more constricted,
blues-based singing style don't always mesh as well as they might, as on the
slightly awkward verses of the title track. But when War opens up and lets
loose, it's hard to imagine a better band. - <i><span style="font-size: x-small;">CDUniverse.com</span></i><br /><br />The album
opens with a funky (War exists, of course, as one of the most naturally funky
collections of instrumental artists on the planet) rock track originally laid
down in 1970, 'Love Is All Around'... not to be confused with the 1960's Troggs
hit that prevented the latter from being a one-trick pony. Two other tracks are
also drawn from 1970, 'Magic Mountain', which premiered as the flip side of the
band's sole hit single, 'Spill the Wine', which rose to #3 on the national
charts in July of that year. It's also one of the more interesting tracks,
producing a unique psychedelic sound by mixing slow-tempo horns with a fast
tempo piano melody and rhythm track. The lyrics continue 'Spill the Wine's'
theme, offering such high-minded considerations as, "We're goin' high, high,
high... never comin' down". 'A Day In the Life' follows, a daring eleven minute
plus cover of The Beatle's epic finish to their most epic album. An organ
replaces the piano foundation for the song, and while some horn and electric
lead guitar add some unique flourishes, the song comes off a bit "lounge-y" in
comparison to the original. A studio version of the cover is also offered on
'Black Man's Burdon'. The closing track, a ten minute plus rendition of The
Rolling Stone's 'Paint It Black' comes off much stronger, featuring a driving
beat, an unbelievably rocking bridge, and those familiar lyrics over an
unfamiliar instrumental construct. The track was recorded live in 1969 in L.A.,
and offers an interesting contrast to versions by The Stones and West, Bruce and
Laing. Two other tracks sum up the disc, a six and one-half minute take on the
oft-covered classic 'Tobacco Road', given (of course) a funk/jazz treatment, and
an eleven minute plus, Eric Burdon composed blues track titled 'Home Dream',
spiced up with a jazzy sax and conga bridge. - <i><span style="font-size: x-small;">by Don Schmittdiel, Amazon.com</span></i><br />
<br />
Artist: Eric Burdon & War<br />
Album: Love Is All Around<br />
Year: 1976 (recorded 1969-1970)<br />
Label: Avenue Records (1993)<br />
Runtime: 43:46<br />
<br />
<b>Tracks:</b><br />
1. Love Is All Around (Papa Dee Allen/Harold Brown/B.B. Dickerson/Lonnie Jordan/Charles Miller/Howard Scott) 4:14<br />
2. Tobacco Road (John D. Loudermilk) 6:36<br />
3. Home Dream (Eric Burdon) 7:15<br />
4. Magic Mountain (Papa Dee Allen/Harold Brown/B.B. Dickerson/Lonnie Jordan/Charles Miller/Howard Scott) 4:22<br />
5. A Day In The Life (John Lennon/Paul McCartney) 11:06<br />
6. Medley: Paint It Black - Black On Black In Black - Paint It Black - Laurel & Hardy - Black Bird (Mick Jagger/Keith Richards) 10:10<br />
<br />
<b>Personnel:</b><br />
Eric Burdon (Vocals, Percussion)<br />
Papa Dee Allen (Conga, Bongos, Percussion, Backing Vocals)<br />
Harold Brown (Drums, Percussion,Backing Vocals)<br />
B.B. Dickerson (Bass Guitar, Backing Vocals)<br />
Lonnie Jordan (Organ, Piano, Backing Vocals)<br />
Charles Miller (Tenor Saxophone, Baritone Saxophone, Alto Saxophones, Percussion, Flute, Backing Vocals)<br />
Howard Scott (Guitar, Backing Vocals)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com4tag:blogger.com,1999:blog-8184958738580950101.post-66682346616210689492019-06-10T03:02:00.003-07:002019-06-10T03:02:58.069-07:00Eddie Harris - E.H. In The U.K.<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-sqpxOg5Yqs8/XP4qisqW5tI/AAAAAAAAquM/JExxXoEla_gOQmqaQeP_Bv4L4LcmVa7aACLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="319" src="https://1.bp.blogspot.com/-sqpxOg5Yqs8/XP4qisqW5tI/AAAAAAAAquM/JExxXoEla_gOQmqaQeP_Bv4L4LcmVa7aACLcBGAs/s320/cover.jpg" width="320" /></a></div>
Following the hip strategy of the time, Eddie Harris flew to London to mix it up with some of Britain's most in-demand rockers -- including guitarists Jeff Beck and Albert Lee, pianist Stevie Winwood and drummer Alan White -- on this LP. Truthfully, though, most of the results aren't too different from what Harris had been recording at home at the time, with only a hint of a rock edge. If anything, the workmanlike Brits are too much on their best behavior -- Beck plays with restraint and taste while Lee is jazzier and a bit flashier -- making Harris seem like a wild man by comparison. The most entertaining tune is an EH-patented funkster "Wait a Little Longer," which develops a head of steam and escalates into a freeform brawl, but the designated free workout "Conversations of Everything and Nothing," give or take a few stimulating passages, wanders uncontrollably. -<i> by Richard S. Ginell, AMG</i><br />
<br />
Artist: Eddie Harris<br />
Album. E.H. in the U.K.<br />
Year: 1973<br />
Label: Atlantic Records (24bit remastered, 2013)<br />
Runtime: 43:17<br />
<br />
<b>Tracks:</b><br />
1. Baby (Eddie Harris) 6:45<br />
2. Wait A Little Longer (Eddie Harris) 4:12<br />
3. He's Island Man (Eddie Harris) 2:25<br />
4. I've Tried Everything (Eddie Harris) 8:13<br />
5. I Waited For You (Charles Stepney) 5:48<br />
6. Conversations Of Everything And Nothing (Eddie Harris) 15:54<br />
<br />
<b>Personnel:</b><br />
Eddie Harris (Electric Saxophone, Electric Trumpet, Vocals, Piano)<br />
Albert Lee (Guitar)<br />
Alan White (Drums) - 1,2,5,6<br />
Stevie Winwood (Electric Piano) - 3-6<br />
Raymond Burrell (Bass Guitar) - 1-3<br />
Zoot Money (Piano, Electric Piano) - 1,2<br />
Neil Hubbard (Guitar) - 1,2<br />
Lofty Amao (Congas) - 3,4<br />
Ian Pace (Drums) - 3,4<br />
Jeff Beck (Guitar) - 3,4<br />
Rick Grech (Bass Guitar) - 4<br />
Chris Squire (Bass Guitar) - 5,6<br />
Tony Kaye (Synthesizer) - 5,6itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com8tag:blogger.com,1999:blog-8184958738580950101.post-54018598710222438612019-04-25T09:55:00.000-07:002019-04-25T09:55:51.936-07:00Hank Crawford - True Blue<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-u53r8XPsTqM/XMHk_ic_MuI/AAAAAAAAqbI/1OB3-VGqFWwr7lM1HCay74_weTMWPPn_ACLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://2.bp.blogspot.com/-u53r8XPsTqM/XMHk_ic_MuI/AAAAAAAAqbI/1OB3-VGqFWwr7lM1HCay74_weTMWPPn_ACLcBGAs/s1600/cover.jpg" /></a></div>
This lesser-known Hank Crawford set has plenty of enjoyable numbers that fit into the R&Bish soul/jazz idiom. Crawford, who plays piano on two of the ten songs but otherwise sticks to his distinctive alto, is the main soloist other than three short spots for either John Hunt or Phil Guilbeau on trumpet. Most of the selections on this out-of-print LP are quite catchy with the highlights including "Shake A-Plenty," a passionate "Merry Christmas Baby," "Save Your Love for Me" and "Two Years of Torture." - <i><span style="font-size: x-small;">by Scott Yanow, AMG</span></i><br />
<br />
A cool cooker from altoist Hank Crawford – cut in a tightly-grooving ensemble mode that really reflects his roots with Ray Charles! The tunes are mostly short, but have a great sense of personality – a vibrant approach that comes not just from Hank's lead solos, but also from the group backing by players who include James Clay and Wilbur Brown on tenor, Charlie Patterson on trumpet, and Sonny Forriest on guitar. Hank plays a bit of piano at times, and both John Hunt and Phil Guilbeau get in some trumpet solos too – and titles include "Mellow Down", "Shake-A-Plenty", "Shooby", "Blues In Bloom", and "Skunky Green". - <i><span style="font-size: x-small;">Dusty Groove, Inc.</span></i><br />
<br />
Artist: Hank Crawford<br />
Album: True Blue<br />
Year: 1964<br />
Label: Atlantic Records (Japanese remaster, 2013)<br />
Runtime: 35:33<br />
<br />
<b>Tracks:</b><br />
1. Shake-A-Plenty (Hank Crawford) 2:36<br />
2. Mellow Down (Hank Crawford) 3:01<br />
3. Read 'em And Weep (Hank Crawford) 3:15<br />
4. Merry Christmas Baby (Lou Baxter/Johnny Moore) 3:50<br />
5. Save Your Love For Me (Buddy Johnson) 3:57<br />
6. Skunky Green (Hank Crawford) 2:37<br />
7. Two Years Of Torture (Percy Mayfield/Charles Morris) 4:27<br />
8. Blues In Bloom (Norman Mapp) 4:14<br />
9. Got You On My Mind (Howard Biggs/Joe Thomas) 3:12<br />
10. Shooby (Hank Crawford) 4:24<br />
<br />
<b>Personnel:</b><br />
Hank Crawford (Alto Saxophone)<br />
Julius Brooks (Trumpet) - 2,4,8<br />
Phil Guilbeau (Trumpet) - 3,5-7<br />
John Hunt (Trumpet) - 1,9,10<br />
Charlie Patterson (Trumpet) - 1,9,10<br />
Wilbur Brown (Tenor Saxophone) - 1,2,4,8-10<br />
James Clay (Tenor Saxophone) - 3,5-7<br />
Leroy Cooper (Baritone Saxophone) - 2-8<br />
Alexander Nelson (Baritone Saxophone) - 1,9,10<br />
Sonny Forriest (Guitar) - 3,5-7<br />
Charles Green (Double Bass) - 2,4,8<br />
Edgar Willis (Double Bass) - 3,5-7<br />
Lewis Worrell (Double Bass) - 1,9,10<br />
Bruno Carr (Drums) - 3,5-7<br />
Carl Lott (Drums) - 1,9,10<br />
Milt Turner (Drums) - 2,4,8itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com3tag:blogger.com,1999:blog-8184958738580950101.post-16419281584394387262019-03-31T05:47:00.000-07:002019-03-31T05:47:39.005-07:00Herbie Mann - Stone Flute<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-TR9cdjDdDKI/XKC2Q1ZzqsI/AAAAAAAAqUI/nl0C71_8GEcopXI-m8E3O5ve_-VpTKRowCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://2.bp.blogspot.com/-TR9cdjDdDKI/XKC2Q1ZzqsI/AAAAAAAAqUI/nl0C71_8GEcopXI-m8E3O5ve_-VpTKRowCLcBGAs/s320/cover.jpg" width="320" /></a></div>
The 1970 record buyer who came across Stone Flute expecting a typical Herbie Mann album in the Memphis Underground vein was in for a big surprise. Instead of funk, there was moodiness. Instead of a groove, there were violins, viola and cello. The feeling was one of floating in space, with the flute sailing freely over the William Fischer arrangements, like a Miles Davis trumpet solo of this, the Bitches Brew era. This is a totally atypical Herbie Mann recording, but one which rewards repeated listening. - <i><span style="font-size: x-small;">by Jim Newsom, AMG.</span></i><br />
<br />
Artists often fall short when they step out of their trademark sound, but not Herbie Mann, best known for his soulful jazz. Here on Stone Flute, Mann slides into an atmospheric and spacious sound, much as Miles Davis did on Bitches Brew, developing sparse string arrangements that are inter-laced with his magical flute, creating insightfully light exotic and airy washes of psychedelic blissful wonder. Opening the album with “In Tangier,” and a sly nod and reference to the original version laid out by the legendary 60’s troubadour Donovan, with Mann creating an intoxicating stoned out celestial flight across the galaxie. Locked in tight with the mind-bending heyday of the mid 60’s swirling from his flute, he moves into “Flying,” a profound influential Beatles instrumental from The Magical Mystery Tour, creating a vibe that is equally as hallucinatory. The rest of the tracks are top shelf straight forward thinking jazz that grooves along at a steady pace, exhibiting Mann’s unmistakable restraint to allow things to flower, and then moves on in a contained, yet free spirited manner. Stone Flute is a unique body of work from the Herbie Mann catalog, with minor hints at late 60’s and early 70’s experiments into the realm of fusion and sound exploration … though not quiet, because it is very accessible. Nevertheless, this is not an album you’re gonna want to miss, as it goes down easy, holding your attention, without demanding it. - <i><span style="font-size: x-small;">by Jenell Kesler, Psychedelicbaby.blogspot.com</span></i><br />
<br />
Artist: Herbie Mann<br />
Album: Stone Flute<br />
Year: 1970 (Embryo)<br />
Label: WEA Japan (2013, 24bit remastered)<br />
Runtime: 40:57<br />
<br />
<b>Tracks:</b><br />
1. In Tangier (David Mills) / Flying (Herbie Mann) 10:39<br />
2. Flying (George Harrison / John Lennon / Paul McCartney / Ringo Starr) 5:21<br />
3. Don't You Know The Way (How I Feel About You) (Herbie Mann) 5:17<br />
4. Miss Free Spirit (Herbie Mann) 12:40<br />
5. Waltz For My Son (Herbie Mann) 4:20<br />
6. Pendulum (William Fischer) 2:40<br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Flute)<br />
Sonny Sharrock (Guitar)<br />
Roy Ayers (Vibraphone)<br />
Selwart Clarke (Violin, Viola)<br />
Miroslav Vitous (Double Bass) - 3-5<br />
Ron Carter (Double Bass) - 1,2,6<br />
Bruno Carr (Drums) - 1,2,6<br />
Mickey Roker (Drums) - 3-5<br />
George Ricci (Cello) - 1,2,6<br />
Kermit Moore (Cello) - 3-5<br />
Al Brown (Viola) - 3-5<br />
Emanuel Green (Violin) - 1,2,6<br />
Gene Orloff (Violin) - 1,2,6<br />
Peter Dimitriades (Violin) - 3-5itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com9tag:blogger.com,1999:blog-8184958738580950101.post-66788017874825262402019-02-08T04:08:00.000-08:002019-02-08T04:08:15.349-08:00Eddie Harris - Live At Newport<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-GCaZeRqqKNw/XFyVkF2gfQI/AAAAAAAAp1M/LjIH1Pi15hw7ajHjjafRuvOSnZL1Cn3jQCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="500" height="283" src="https://2.bp.blogspot.com/-GCaZeRqqKNw/XFyVkF2gfQI/AAAAAAAAp1M/LjIH1Pi15hw7ajHjjafRuvOSnZL1Cn3jQCLcBGAs/s320/cover.jpg" width="320" /></a></div>
Eddie Harris hit the 1970 Newport Jazz Festival head on with his satchel of electronic sax gear, funky soul/jazz track record, and a quartet with Jodie Christian now anchored on electric piano. Naturally there would be some funk on display ("Carry on Brother") and guest vocalist Eugene McDaniels, composer of "Compared to What," comes up with a lame, hectoring sequel, "Silent Majority." Yet a good deal of this truncated edition of Harris' Newport set is pitched at a more abstract level. "Don't You Know the Future's in Space," with its tumbling drums and outbreaks of near freeform reed trumpet (a Harris invention), is already in progress when we fade into the track, and "South Side" is a rough-and-tumble jazz sprint, with Harris delivering a complex cerebral solo. These advanced tracks didn't win him any points with the critics of the time but hindsight reveals that harmonically as well as electronically, Harris was ahead of most of the pack. As a bonus, the LP includes a short post-set speech in which Harris prophesizes that his reed trumpet will be a godsend for brass players (who, alas, completely ignored it). - <i><span style="font-size: x-small;">by Richard S. Ginell, AMG</span></i><br />
<br />
Artist: Eddie Harris<br />
Album: Live At Newport<br />
Year: 1970 (Atlantic Records)<br />
Label: WEA Japan, 2013 - 24bit ResolutionCD)<br />
Runtime: 38:31<br />
<i><span style="font-size: x-small;">Recorded live at Newport Jazz Festival</span></i><br />
<br />
<b>Tracks:</b><br />
1. Children's Song (Eddie Harris) 6:13<br />
2. Carry On Brother (Eddie Harris) 5:12<br />
3. Don't You Know Your Future's In Space (Eddie Harris) 8:06<br />
4. Silent Majority (Gene McDaniels) 5:47<br />
5. Walk Soft (Eddie Harris) 4:15<br />
6. South Side (Eddie Harris) 8:55<br />
<br />
<b>Personnel:</b><br />
Eddie Harris (Tenor Saxophone, Varitone)<br />
Jodie Christian (Piano, Electric Piano)<br />
Louis Spears (Double Bass)<br />
Robert Crowder (Drums)<br />
Eugene McDaniels (Vocals) - 4itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com3tag:blogger.com,1999:blog-8184958738580950101.post-58657065095034387482019-01-23T06:30:00.000-08:002019-01-23T06:30:11.054-08:00Maceo Parker - Life on Planet Groove<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-R51YI3Sg7kA/XEh11IDIdbI/AAAAAAAApwo/tYSkbA4_byEwrx7gdrh8A59BZ4KiF32NgCLcBGAs/s1600/MP_Life_front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="819" height="290" src="https://1.bp.blogspot.com/-R51YI3Sg7kA/XEh11IDIdbI/AAAAAAAApwo/tYSkbA4_byEwrx7gdrh8A59BZ4KiF32NgCLcBGAs/s320/MP_Life_front.jpg" width="320" /></a></div>
<br />
A scorching album of funky grooves from Maceo Parker, assisted by the rest of the JB's on backing horns. The album was recorded in concert at a club called Stadtgarten in Cologne, Germany, and the crowd seems just as responsive in most ways as any Atlanta mob. Along with the JB horns, Vincent Henry accompanies on bass throughout the album/concert. The album starts out with an original Maceo composition, then moves into a pair from his old boss James Brown. After that, there's another Maceo number, a cover of "Addictive Love," a rendition of "Georgia on My Mind," and a composition undertaken by a veritable army of funk veterans. This is probably just about the best solo Maceo Parker album there is, at least until the release of Funkoverload. If you're a funk fan, or a soul-jazz fan, this album might just provide what you need. Maceo on his own always provides a nice collection of soul and funk, and this one is no exception. - <i><span style="font-size: x-small;">by Adam Greenberg, AMG</span></i><br />
<br />
Artist: Maceo Parker<br />
Album: Life on Planet Groove<br />
Year: 1992<br />
Label: Minor Music<br />
Runtime: 74:10<br />
<br />
<b>Tracks:</b><br />
1. Shake Everything You've Got (Maceo Parker) 16:15<br />
2. Pass The Peas (Charles Bobbit/James Brown/John Starks) 11:12<br />
3. I Got You (I Feel Good) (James Brown) 3:38<br />
4. Got To Get U (Maceo Parker)6:56<br />
5. Addictive Love (Love/Keith Thomas/The Winans) 8:37<br />
6. Children's World (Maceo Parker) 6:07<br />
7. Georgia On My Mind (Hoagy Carmichael/Stuart Gorrell) 7:12<br />
8. Soul Power (James Brown/Byrd/Bootsy Collins/Maceo Parker/Troutman) 14:13<br />
<i><span style="font-size: x-small;">Recorded live at the Stadgarten Restaurant, Cologne, Germany</span></i><br />
<br />
<b>Personnel:</b><br />
Maceo Parker (Alto Saxophone and Vocals)<br />
Fred Wesley (Trombone and Vocals)<br />
Pee Wee Ellis (Tenor Saxophone, Flute and Vocals)<br />
Rodney Jones (Guitar)<br />
Larry Goldings (Hammond Organ)<br />
Kenwood Dennard (Drums)<br />
Vincent Henry (Bass Guitar and Alto Saxophone)<br />
Kym Mazelle (Vocals) - 3,4,8<br />
Candy Dulfer (Alto Saxophone) - 5,8itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com2tag:blogger.com,1999:blog-8184958738580950101.post-83513426481416445522018-12-27T01:55:00.000-08:002018-12-27T01:55:20.579-08:00Pee Wee Ellis - Yellin' Blue<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-pbrefvXkE8w/XCSdmEuoEhI/AAAAAAAApak/HKT-VILKdsgw5VQGgrvqutRjyi6VDe_ngCLcBGAs/s1600/PWE_Yellin_front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://4.bp.blogspot.com/-pbrefvXkE8w/XCSdmEuoEhI/AAAAAAAApak/HKT-VILKdsgw5VQGgrvqutRjyi6VDe_ngCLcBGAs/s320/PWE_Yellin_front.jpg" width="320" /></a></div>
A versatile composer, arranger, saxophonist and keyboard player, a musician whose repertoire encompasses all manner of music from jazz through soul and funk to stadium rock, Alfred Pee Wee Ellis stands distinctive in any company...<br />
A second trio album from Koln was recorded live during a Pee Wee Ellis Assembly Trio tour of Europe in the spring of '94. Called “Yellin' Blue,” it attracted much critical acclaim in Europe. - from <i><span style="font-size: x-small;">All About Jazz.com</span></i><br />
<br />
Artist: Alfred "Pee Wee" Ellis<br />
Album: Yellin' Blue<br />
Year: 1995<br />
Label: Minor Music<br />
Runtime: 65:00<br />
<br />
<b>Tracks:</b><br />
1. Lazy Bird (John Coltrane) 4:17<br />
2. Do Dee Dum Diddy (Pee Wee Ellis) 8:31<br />
3. Sophisticated Lady (Duke Ellington/Irving Mills) 9:52<br />
4. Like Sonny (John Coltrane) 6:58<br />
5. Yellin' Blue (Pee Wee Ellis) 9:42<br />
6. Groovin' High (Dizzy Gillespie) 6:10<br />
7. In A Mellow Tone (Duke Ellington/Milt Gabler) 11:24<br />
8. Tag Alone (Pee Wee Ellis) 8:02<br />
<br />
<b>Personnel:</b><br />
Pee Wee Ellis (Tenor Saxophone)<br />
Dwayne Dolphin (Double Bass)<br />
Bruce Cox (Drums)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com4tag:blogger.com,1999:blog-8184958738580950101.post-66329739222253727282018-12-05T02:48:00.000-08:002019-09-26T02:50:07.470-07:00Diana Krall - Live in Paris<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-2t73cfVR8WA/XAerkmpxNMI/AAAAAAAApT8/MDr8caFxH-0ri8sszfUQ3OBaeuO2Jo2yACLcBGAs/s1600/Diana%2BKrall%2B-%2BLive%2Bin%2BParis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://4.bp.blogspot.com/-2t73cfVR8WA/XAerkmpxNMI/AAAAAAAApT8/MDr8caFxH-0ri8sszfUQ3OBaeuO2Jo2yACLcBGAs/s320/Diana%2BKrall%2B-%2BLive%2Bin%2BParis.jpg" width="320" /></a></div>
Recorded "live" at the Paris Olympia, Live in Paris offers listeners Diana Krall's understanding of the musical techniques of composition, piano, and vocal improvisation on 12 songs from the Great American Songbooks of Cole Porter,Harold Arlen, George and Ira Gershwin, and contemporary artists Joni Mitchell and Billy Joel. Accompanied by the award-winning Anthony Wilson on guitar, John Pisano on acoustic guitar, John Clayton on bass, Jeff Hamilton on drums, and Paulinho Da Costa on percussion as well as the Orchestra Symphonies European on "Let's Fall in Love" and "I've Got You Under My Skin," the lovely vocalist heightens your listening pleasures with distinctive phrasings and tangible pathways to inside the creative imagination by getting inside harmony, the changes, and melodic structures. On Joel's "Just the Way You Are," Krall is accompanied by Christian McBride on bass, Michael Brecker on tenor saxophone, Lewis Nash on drums, and Wilson on guitar, among others. This song also resides on the soundtrack to the film The Guru and is probably one of the best ballads on the set due to the great solo from Brecker. His powerful but sensitive playing adds the ultimate expression and approach to the melody -- one with attitudinal preparation, which is always necessary for a song that has such familiarity and association with another musician. For those who may not have heard Krall perform "live," this recording will give you a firsthand account of the ambience and excitement of a musical evening with her. - <i><span style="font-size: x-small;">by Paula Edelstein, AMG</span></i><br />
<br />
Artist: Diana Krall<br />
Album: Live in Paris<br />
Year: 2002<br />
Label: Verve Records<br />
Runtime: 70:02<br />
<br />
<b>Tracks:</b><br />
1. I Love Being Here With You (Peggy Lee / Bill Schluger) 5:12<br />
2. Let's Fall In Love (Harold Arlen / Ted Koehler) 4:34<br />
3. 'Deed I Do (Walter Hirsch / Fred Rose) 5:18<br />
4. The Look Of Love (Burt Bacharach / Hal David) 5:00<br />
5. East Of The Sun (And West Of The Moon) (Brooks Bowman) 5:58<br />
6. I've Got You Under My Skin (Cole Porter) 7:24<br />
7. Devil May Care (Bob Dorough / Terrell Kirk / Joe South) 6:52<br />
8. Maybe You'll Be There (Rube Bloom / Sammy Gallop) 5:48<br />
9. 'S Wonderful (George Gershwin / Ira Gershwin) 6:00<br />
10. Fly Me To The Moon (Bart Howard) 6:06<br />
11. A Case Of You (Joni Mitchell) 6:50<br />
12. Just The Way You Are (Billy Joel) 5:00<br />
<br />
<b>Personnel:</b><br />
John Clayton (Bass)<br />
Jeff Hamilton (Drums)<br />
Anthony Wilson (Guitar)<br />
Paulinho Da Costa (Percussion)<br />
Diana Krall (Piano, Vocals)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com1tag:blogger.com,1999:blog-8184958738580950101.post-22684606106455570692018-10-24T05:37:00.000-07:002019-09-26T02:54:05.421-07:00Diana Krall - All For You (A Dedication To The Nat King Cole Trio)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-vv9pj6HMXVU/W9BnIKe3gQI/AAAAAAAApJY/5GeIMdyZJd8hXRsa6e3iaRpw-AwZzoO4gCLcBGAs/s1600/Diana%2BKrall%2B-%2BAll%2Bfor%2BYou-%2BA%2BDedication%2Bto%2Bthe%2BNat%2BKing%2BCole%2BTrio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="250" src="https://1.bp.blogspot.com/-vv9pj6HMXVU/W9BnIKe3gQI/AAAAAAAApJY/5GeIMdyZJd8hXRsa6e3iaRpw-AwZzoO4gCLcBGAs/s1600/Diana%2BKrall%2B-%2BAll%2Bfor%2BYou-%2BA%2BDedication%2Bto%2Bthe%2BNat%2BKing%2BCole%2BTrio.jpg" /></a></div>
Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds. -<i><span style="font-size: x-small;"> by Scott Yanow, AMG</span></i><br />
<br />
Artist: Diana Krall<br />
Album: All For You: A Dedication To The Nat King Cole Trio<br />
Year: 1996<br />
Label: Verve Records<br />
Runtime: 54:36<br />
<i><span style="font-size: x-small;">Recorded at the Power Station, New York City, USA</span></i><br />
<br />
<b>Tracks:</b><br />
1. I'm An Errand Girl For Rhythm (Nat King Cole) 2:56<br />
2. Gee Baby, Ain't I Good To You (Andy Razaf / Don Redman) 4:07<br />
3. You Call It Madness (Russ Columbo / Con Conrad / Gladys Dubois/ Paul Gregory) 4:37<br />
4. Frim Fram Sauce (Redd Evans / Joe Ricardel) 5:00<br />
5. Boulevard Of Broken Dreams (Al Dubin / Harry Warren) 6:27<br />
6. Baby Baby All The Time (Bobby Troup) 3:36<br />
7. Hit That Jive Jack (John Alston / Alex Alston / Skeets Tolbert) 4:16<br />
8. You're Looking At Me (Bobby Troup) 5:33<br />
9. I'm Thru With Love (Gus Kahn / Fud Livingston / Matty Malneck) 4:25<br />
10. Deed I Do (Walter Hirsch / Fred Rose) 3:31<br />
11. A Blossom Fell (Howard Barnes / Harold Cornelius / Dominic John) 5:12<br />
12. If I Had You (Jimmy Campbell / Reginald Connelly / Ted Shapiro) 4:56<br />
<br />
<b>Personnel:</b><br />
Diana Krall (Piano, Vocals)<br />
Russell Malone (Guitar)<br />
Paul Keller (Double Bass)<br />
Benny Green (Piano) - 12<br />
Steve Kroon (Percussion) - 5itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com2tag:blogger.com,1999:blog-8184958738580950101.post-51593819409594198472018-09-27T08:04:00.000-07:002018-09-27T08:04:43.343-07:00Diana Krall - The Girl in the Other Room <div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-wHNbxhRUs8s/W6zv380198I/AAAAAAAAo4E/5US3hTP8BqYtJ4EF4yQkT_Uo0UsUtJp6ACLcBGAs/s1600/Diana%2BKrall%2B-%2BThe%2BGirl%2Bin%2Bthe%2BOther%2BRoom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" src="https://4.bp.blogspot.com/-wHNbxhRUs8s/W6zv380198I/AAAAAAAAo4E/5US3hTP8BqYtJ4EF4yQkT_Uo0UsUtJp6ACLcBGAs/s1600/Diana%2BKrall%2B-%2BThe%2BGirl%2Bin%2Bthe%2BOther%2BRoom.jpg" /></a></div>
While the jazz fascists (read: purists) may be screaming "sellout" because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn't made up of musty and dusty "classics" may irk the narrow-minded and reactionary, but it doesn't change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison's "Stop This World" to contemporary songs that are reinvented in Krall's image by Tom Waits ("Temptation"), Joni Mitchell ("Black Crow"), Chris Smither ("Love Me Like a Man"), and her husband, Elvis Costello ("Almost Blue"). These covers are striking. Krall's read of Allison's tune rivals his and adds an entirely different shade of meaning, as does her swinging, jazzy, R&B-infused take on Smither's sexy nugget via its first hitmaker, Bonnie Raitt. Her interpretation of Waits' "Temptation" is far more sultry than Holly Cole's because Krall understands this pop song to be a jazz tune rather than a jazzy pop song. "Black Crow" exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation. Likewise, her reverent version of Costello's "Almost Blue" takes it out of its original countrypolitan setting and brings it back to the blues. As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello. Totaling half the album, this material is full of grief, darkness, and a tentative re-emergence from the shadows. It begins in the noir-ish melancholy of the title track, kissed with bittersweet agony by Gershwin's "Summertime." The grain in Krall's pained voice relates an edgy third-person tale that is harrowing in its lack of revelation and in the way it confounds the listener; it features John Clayton on bass and Jeff Hamilton on drums. In "I've Changed My Address," Krall evokes the voices of ghosts such as Louis Armstrong and Anita O'Day in a sturdy hip vernacular that channels the early beat jazz of Waits and Allison. The lyric is solid and wonderfully evocative not only of time and place, but of emotional terrain. Krall's solo in the tune is stunning. "Narrow Daylight," graced by gospel overtones, is a tentative step into hope with its opening line: "Narrow daylight enters the room, winter is over, summer is near." This glimmer of hope is short-lived, however, as "Abandoned Masquerade" reveals the shattered promise in the aftermath of dying love. "I'm Coming Through" and "Departure Bay," which close the set, are both underscored by the grief experienced at the loss of Krall's mother. They are far from sentimental, nor are they sophomoric, but through the eloquence of Krall's wonderfully sophisticated melodic architecture and rhythmic parlance they express the experience of longing, of death, and of acceptance. The former features a beautiful solo by guitarist Anthony Wilson and the latter, in its starkness, offers memory as reflection and instruction. This is a bold new direction by an artist who expresses great willingness to get dirt on her hands and to offer its traces and smudges as part and parcel of her own part in extending the jazz tradition, through confessional language and a wonderfully inventive application that is caressed by, not saturated in, elegant pop. -<i><span style="font-size: x-small;"> by Thom Yurek, AMG</span></i><br />
<br />
Artist: Diana Krall<br />
Album: The Girl in the Other Room<br />
Label: Verve Records<br />
Year: 2004<br />
Runtime: 55:31<br />
<br />
<b>Tracks:</b><br />
1. Stop This World (Mose Allison) 3:59<br />
2. The Girl in the Other Room (Diana Krall/Elvis Costello) 4:05<br />
3. Temptation (Tom Waits) 4:27<br />
4. Almost Blue (Elvis Costello) 4:04<br />
5. I've Changed My Address (Diana Krall/Elvis Costello) 4:47<br />
6. Love Me Like a Man (Bonnie Raitt/Chris Smither) 5:49<br />
7. I'm Pulling Through (Arthur Herzog Jr./Irene Kitchings) 4:02<br />
8. Black Crow (Joni Mitchell) 4:49<br />
9. Narrow Daylight (Diana Krall/Elvis Costello) 3:32<br />
10. Abandoned Masquerade (Diana Krall/Elvis Costello) 5:11<br />
11. I'm Coming Through (Diana Krall/Elvis Costello) 5:07<br />
12. Departure Bay (Diana Krall/Elvis Costello) 5:39<br />
<br />
<b>Personnel:</b><br />
Diana Krall (Piano, Vocals)<br />
Anthony Wilson (Guitar)<br />
Christian Mc Bride (Double Bass) - 1,3,4,7-12<br />
Peter Erskine (Drums) - 1,4,7-12<br />
John Clayton (Double Bass) - 2,5,6<br />
Jeff Hamilton (Drums) - 2,5,6<br />
Neil Larsen (Hammond Organ) - 3<br />
Terri Lynne Carrington (Drums) - 3itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com1tag:blogger.com,1999:blog-8184958738580950101.post-5406628588753495162018-07-31T09:09:00.000-07:002018-07-31T09:09:46.688-07:00Herbie Mann - Seven Classic Albums vol.3 (Disc IV)<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-IT99Yb36oYs/W2CGRah4cII/AAAAAAAAoTU/eKIuAUWVMYAhKyLiq1g2-cEKQ8KbwtcBACLcBGAs/s1600/box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="318" src="https://3.bp.blogspot.com/-IT99Yb36oYs/W2CGRah4cII/AAAAAAAAoTU/eKIuAUWVMYAhKyLiq1g2-cEKQ8KbwtcBACLcBGAs/s320/box.jpg" width="320" /></a></div>
Salute to the Flute:<br />
Salute to the Flute (reissued as When Lights Are Low) is an album by American jazz flautist Herbie Mann featuring tracks recorded in 1957 for the Epic label. - <i><span style="font-size: x-small;">Wikipedia.org</span></i><br />
<br />
This Portrait LP (a 1988 reissue of an Epic album titled Salute to the Flute) found flutist Herbie Mann accompanied for the first time by a big band on five of the nine selections. Prior to 1959, virtually all of Mann's recordings were bop-oriented, and this one is no exception. Whether it be "Little Niles," "When Lights Are Low," "Beautiful Love" or even "Old Honky Tonk Piano Roll Blues," Mann proves to be an excellent bop soloist; other important players on this date include trumpeter Joe Wilder, altoist Anthony Ortega, pianist Hank Jones, guitarist Joe Puma and bassist Oscar Pettiford. This LP will be a difficult one to find. -<i><span style="font-size: x-small;"> by Scott Yanow, AMG</span></i><br />
<br />
Right Now:<br />
Herbie Mann spent much of his career at Atlantic, which he signed with in the early 1960s and recorded for until 1985. The flutist provided a very wide variety of music during his long stay at Atlantic; this rewarding 1962 LP found him combining bop with various forms of world music. Mann has long been famous for his love of Brazilian music, and that interest serves him well on the charming "Borquinho" and Luiz Bonfa's "Manha de Carnaval," as well as two Antonio Carlos Jobim pieces: "Desafinado" (a major hit for Stan Getz in the early 1960s) and "Meditation." But Mann goes for more of an Afro-Cuban flavor on his exuberant "Free for All" and Lester Young's "Jumpin' With Symphony Sid," and he successfully incorporates elements of Jewish and Middle Eastern music on the moody "Challil." Now for the bad news: like so many of Mann's Atlantic dates, Right Now has long been out of print and has yet to be reissued on CD. - by Alex Henderson, AMG<br />
<br />
Artist: Herbie Mann<br />
Album: Herbie Mann vol.3; Disc Four (Salute To The Flute + Right Now)<br />
Year: 1957-1962 (Epic Records, Atlantic Recordings)<br />
Label: RealGoneJazz Records (2015)<br />
Runtime: 54:51<br />
<br />
Tracks:<br />
<br />
<b><i>Salute To The Flute</i></b>:<br />
1. Beautiful Love (Wayne King / Victor Young / Egbert Van Alstyne) 6:31<br />
2. Hip Scotch (Joe Puma) 3:40<br />
3. Song For Ruth (Herbie Mann) 4:22<br />
4. Noga's Nuggets (Oscar Pettiford) 4:04<br />
5. A Ritual (Herbie Mann) 3:48<br />
<br />
<b>Personnel</b>:<br />
Herbie Mann (Flute, Vocals)<br />
Anthony Ortega (Alto Saxophone)<br />
Sol Schlinger (Baritone Saxophone)<br />
Oscar Pettiford (Double Bass)<br />
Philly Joe Jones (Drums) - 2<br />
Gus Johnson (Drums) - 1-3<br />
Joe Puma (Guitar)<br />
Hank Jones (Piano)<br />
Dave Kurtzer (Bassoon)<br />
Dick Hafer (Tenor Saxophone, Alto Saxophone) - 4<br />
Chauncey Welsch (Trombone) - 4<br />
Urbie Green (Trombone) - 4<br />
Bernie Glow (Trumpet) - 3<br />
Don Stratton (Trumpet) - 4<br />
Joe Wilder (Trumpet) - 4<br />
<br />
<b><i>Right Now</i></b>:<br />
6. Right Now (Herbie Mann) 3:11<br />
7. Desafinado (Antonio Carlos Jobim / Newton Mendonca) 4:21<br />
8. Challil (Herbie Mann) 4:36<br />
9. Jumpin' With Symphony Sid (Lester Young) 2:56<br />
10. Borquinho (Roberto Menescal / Renaldo Boscoli) 3:38<br />
11. Cool Heat (Herbie Mann) 5:11<br />
12. Manha de Carnaval (Luiz Bonfa) 2:55<br />
13. Meditation (Antonio Carlos Jobim / Newton Mendonca) 5:52<br />
14. Free for All (Herbie Mann) 2:19<br />
<i><span style="font-size: x-small;">Recorded in New York City, March 12 & 28, April 19, 1962</span></i><br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Flute)<br />
Hagood Hardy (Vibraphone)<br />
Billy Bean (Guitar)<br />
Don Payne (Double Bass) - 10,12,13<br />
Bill Stalter (Double Bass) - 6-9,11,14<br />
Willie Bobo (Drums)<br />
Carlos "Patato" Valdes (Congas)<br />
Johnny Pacheco (Percussion) - 10,12<br />
Willie Rodriguez (Percussion) - 10,12,13itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com2tag:blogger.com,1999:blog-8184958738580950101.post-59386710173719954012018-07-08T02:49:00.000-07:002018-07-08T02:50:17.679-07:00Herbie Mann - Seven Classic Albums vol.3 (Disc III)<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-VFameta7RT4/W0Hae7T3UQI/AAAAAAAAoJk/kRXFaLbACxoSsk8Uce2IWM5dDyrZsmj9wCLcBGAs/s1600/box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="318" src="https://2.bp.blogspot.com/-VFameta7RT4/W0Hae7T3UQI/AAAAAAAAoJk/kRXFaLbACxoSsk8Uce2IWM5dDyrZsmj9wCLcBGAs/s320/box.jpg" width="320" /></a></div>
Musician Herbie Mann was born Herbert Jay Solomon on April 16, 1930 in Brooklyn, N.Y. After exploring the Army, Mann joined the Mat Mathews's Quintet and began recording work. He did some music writing for T.V., but his real joy came from his project with the Afro-Jazz Sextet, which was an international success. Mann's musical interests were not limited to jazz; he also played bop, rock, pop, reggae, and disco. Mann has also been a producer and record label owner. He has recorded almost one hundred albums for more than ten recording companies. - <i><span style="font-size: x-small;">Amazon.com</span></i><br />
<br />
Mann Alone:<br />
Mann Alone is solo album by American jazz flautist Herbie Mann featuring tracks recorded in 1957 for the Savoy label. - <i><span style="font-size: x-small;">Wikipedia.org</span></i><br />
<br />
Salute to the Flute:<br />
Salute to the Flute (reissued as When Lights Are Low) is an album by American jazz flautist Herbie Mann featuring tracks recorded in 1957 for the Epic label. - <i><span style="font-size: x-small;">Wikipedia.org</span></i><br />
<br />
This Portrait LP (a 1988 reissue of an Epic album titled Salute to the Flute) found flutist Herbie Mann accompanied for the first time by a big band on five of the nine selections. Prior to 1959, virtually all of Mann's recordings were bop-oriented, and this one is no exception. Whether it be "Little Niles," "When Lights Are Low," "Beautiful Love" or even "Old Honky Tonk Piano Roll Blues," Mann proves to be an excellent bop soloist; other important players on this date include trumpeter Joe Wilder, altoist Anthony Ortega, pianist Hank Jones, guitarist Joe Puma and bassist Oscar Pettiford. This LP will be a difficult one to find. - <i><span style="font-size: x-small;">by Scott Yanow, AMG</span></i><br />
<br />
<b>Tracks: </b><br />
<br />
<i>Mann Alone:</i><br />
1. Happy Happy 3:30<br />
2. Looking Thru the Window 4:00<br />
3. Like, You Know, Baby 5:50<br />
4. Love 5:15<br />
5. All Day Monday 6:20<br />
6. From Midnight On 3:25<br />
7. For the Love of Kali 4:21<br />
8. Ruth, Ruth 3:42<br />
<i><span style="font-size: x-small;">All compositions by Herbie Mann</span></i><br />
<i><span style="font-size: x-small;">Recorded in NYC, USA, May 9, 1957</span></i><br />
<br />
<b>Personnel: </b><br />
Herbie Mann (Flute, Alto Flute)<br />
<br />
<i>Salute to the Flute:</i><br />
9. When Lights Are Low (Benny Carter) 6:02<br />
10. Little Niles (Randy Weston) 6:11<br />
11. Old Honkie Tonk Piano Roll Blues (Herbie Mann) 4:43<br />
12. Pretty Baby (A.K. Salim) 4:58<br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Flute, Vocals)<br />
Anthony Ortega (Alto Saxophone)<br />
Sol Schlinger (Baritone Saxophone)<br />
Oscar Pettiford (Double Bass)<br />
Philly Joe Jones (Drums) - 2,4,<br />
Gus Johnson (Drums) - 1,3<br />
Joe Puma (Guitar)<br />
Hank Jones (Piano)<br />
Dave Kurtzer (Bassoon)<br />
Dick Hafer (Tenor Saxophone, Alto Saxophone)<br />
Chauncey Welsch (Trombone) - 1<br />
Urbie Green (Trombone) - 1<br />
Bernie Glow (Trumpet) - 1<br />
Don Stratton (Trumpet) - 1<br />
Joe Wilder (Trumpet) - 1itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com3tag:blogger.com,1999:blog-8184958738580950101.post-90883983211934192972018-06-05T23:23:00.001-07:002018-07-08T02:51:10.692-07:00Herbie Mann - Seven Classic Albums vol.3 (Disc II)<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-THTcv9C7M4Q/Wxd9fSEmVmI/AAAAAAAAnHA/wB5uVVhK57ku7OFTHCybz0EB_GKP_ai3QCLcBGAs/s1600/box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="318" src="https://4.bp.blogspot.com/-THTcv9C7M4Q/Wxd9fSEmVmI/AAAAAAAAnHA/wB5uVVhK57ku7OFTHCybz0EB_GKP_ai3QCLcBGAs/s320/box.jpg" width="320" /></a></div>
Herbie Mann with the Wessel Ilcken Trio is an album by American jazz flautist Herbie Mann featuring tracks recorded in Holland in 1956 for the Epic label. - <i><span style="font-size: x-small;">Wikipedia.org</span></i><br />
<br />
One of the first experts in flute tones in jazz was Herbie Mann, who, however, renounced the lovely sweetness of the West Coast style and rather smart-kee.- <i><span style="font-size: x-small;">Amazon.com</span></i><br />
<br />
Artist: Herbie Mann<br />
Album: Herbie Mann vol.3; Disc Two (Herbie Mann with the Wessel Ilcken Trio + Love and the Weather)<br />
Year: 1956-1957 (Epic Records, Bethlehem Records)<br />
Label: RealGoneJazz Records (2015)<br />
Runtime: 76:40<br />
<br />
<b><i>Herbie Mann with the Wessel Ilcken Trio</i></b><br />
<br />
1. Lady Bach (Herbie Mann) 2:16<br />
2. Little Girl (Madeline Hyde / Francis Henry) 2:53<br />
3. Imagination (Jimmy Van Heusen / Johnny Burke) 2:49<br />
4. Love Is Here to Stay (George Gershwin / Ira Gershwin) 2:34<br />
5. The Lady Is a Tramp (Richard Rodgers / Lorenz Hart) 2:59<br />
6. Dear Old Stockholm (Traditional) 2:47<br />
7. Falling in Love with Love (Richard Rodgers / Lorenz Hart) 2:48<br />
8. Summertime (George Gershwin / DuBose Heyward) 4:23<br />
9. Blues for Leila (Herbie Mann) 6:13<br />
10. Lover Come Back to Me (Sigmund Romberg / Oscar Hammerstein II) 3:29<br />
11. Try a Little Tenderness (Jimmy Campbell / Reg Connelly / Harry Woods) 2:39<br />
<i><span style="font-size: x-small;">Recorded in Hilversum, Netherlands, 1956 November</span></i><br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Flute, Tenor Saxophone)<br />
Wessel Ilcken (Drums)<br />
Pim Jacobs (Piano)<br />
Ruud Jacobs (Double Bass)<br />
Ado Broodboom (Trumpet) - 2,4,5,7<br />
<br />
<i><b>Love and Weather</b></i><br />
<br />
12. Love And The Weather (Irving Berlin) 3:50<br />
13. But Beautiful (Johnny Burke/Jimmy Van Heusen) 2:55<br />
14. Spring Can Really Hang You Up The Most (Tommy Wolf/Fran Landesman) 3:29<br />
15. I'm Glad There Is You (Jimmy Dorsey/Paul Madeira) 3:21<br />
16. A Sinner Kissed An Angel (Ray Joseph/Mack David) 3:13<br />
17. High On A Windy Hill (Joan Whitney/ Alex Kramer) 3:33<br />
18. I'll Wind (Ted Koehler/Harold Arlen) 3:47<br />
19. For Heaven's Sake (Donald Meyer/Elise Bretton/Sherman Edwards) 3:19<br />
20. Autumn Nocturne (Kim Gannon/Josef Myrow) 4:18<br />
21. Moon Love (Mack David/Mack Davis/Andre Kostelanetz) 2:40<br />
22. The Morning Side Of The Mountain (Larry Lawrence Stock/Dick Manning) 3:22<br />
23. Like Someone In Love (Johnny Burke/Jimmy Van Heusen) 2:58<br />
<i><span style="font-size: x-small;">Recorded at the Bethlehem Studios, N.Y.C., 1956 March</span></i><br />
<br />
<b>Personnel:</b><br />
Herbie Mann (Alto Flute)<br />
Ralph Burns (Conductor) - 1-6<br />
Frank Hunter (Conductor) - 7-12<br />
Joe Puma (Guitar)<br />
Milt Hinton (Double Bass) - 1-6<br />
Don Lamond (Drums) - 1-6<br />
Whitey Mitchell (Double Bass) - 7-12<br />
Herb Wasserman (Drums) - 7-12itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com5tag:blogger.com,1999:blog-8184958738580950101.post-8953753389557825192018-05-28T11:56:00.000-07:002018-05-28T11:57:58.813-07:00Herbie Mann - Seven Classic Albums vol.3 (Disc I)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-TY7STvA-YM0/WwxOCi7PM8I/AAAAAAAAm_c/EukpuAECSHofkTXjA0bpGc2WAdbooqGNACLcBGAs/s1600/box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="318" src="https://1.bp.blogspot.com/-TY7STvA-YM0/WwxOCi7PM8I/AAAAAAAAm_c/EukpuAECSHofkTXjA0bpGc2WAdbooqGNACLcBGAs/s320/box.jpg" width="320" /></a></div>
Musician Herbie Mann was born Herbert Jay Solomon on April 16, 1930 in Brooklyn, N.Y. After exploring the Army, Mann joined the Mat Mathews's Quintet and began recording work. He did some music writing for T.V., but his real joy came from his project with the Afro-Jazz Sextet, which was an international success. Mann's musical interests were not limited to jazz; he also played bop, rock, pop, reggae, and disco. Mann has also been a producer and record label owner. He has recorded almost one hundred albums for more than ten recording companies. - <i><span style="font-size: x-small;">Amazon.com</span></i><br />
<br />
Flamingo:<br />
An early showcase for the cool, compressed flute work of the young Herbie Mann — a style that created a great bridge to jazz for so many later players on the instrument ! The Mann heard here isn't the overblown, soul-drenched Herbie of the 60s — but a player who's very careful with his tone and timing, yet still able to swing incredibly well! Herbie's solos are a masterpiece of economy — and set up strongly in a hip quartet that features some equally careful work from Joe Puma on guitar — plus Charles Andrus on bass and Harold Granowsky on drums. There's a number of strong original tunes on the set — numbers written with a bit of wit and angular finish... <i><span style="font-size: x-small;">Dusty Groove, Inc.</span></i><br />
<br />
Artist: Herbie Mann<br />
Album: Herbie Mann vol.3; Disc One (East Coast Jazz + Flamingo)<br />
Year: 1954-1955 (Bethlehem Records)<br />
Label: RealGoneJazz Records (2015)<br />
Runtime: 60:48<br />
<br />
<br />
<b>East Coast Jazz/4</b><br />
<br />
1. Chicken Little (Herbie Mann) 2:58<br />
2. The Things We Did Last Summer (Jule Styne / Sammy Cahn) 4:12<br />
3. Between the Devil and the Deep Blue Sea (Harold Arlen / Ted Koehler) 4:03<br />
4. After Work (Herbie Mann) 4:04<br />
5. A Spring Morning (Herbie Mann) 2:42<br />
6. My Little Suede Shoes (Charlie Parker) 2:40<br />
7. The Purple Grotto (Herbie Mann) 2:42<br />
<i><span style="font-size: x-small;">Recorded at the Bethlehem Studios, N.Y.C., 1954 December</span></i><br />
<br />
Personnel:<br />
Herbie Mann (Flute)<br />
Keith Hodgson (Double Bass)<br />
Lee Rockey (Drums)<br />
Benny Weeks (Guitar)<br />
<br />
<i><b>Flamingo</b></i><br />
8. I've Told Ev'Ry Little Star (Jerome Kern/Oscar Hammerstein) 4:33<br />
9. Love Is Simple Thing (Arthur Sigel/June Carroll) 2:02<br />
10. There's No You (Hal Hopper/Tom Adair) 4:17<br />
11. Sorimao (Herbie Mann) 3:28<br />
12. The Influential Mr Cohn (Herbie Mann) 2:36<br />
13. A One Way Love (Herbie Mann) 3:37<br />
14. The Surrey Whith The Fringe On Top (Richard Rodgers/Oscar Hammerstein) 2:41<br />
15. Flamingo (Ted Grouya) 2:44<br />
16. Little Orphan Annie (Gus Kahn/Joe Sanders) 3:26<br />
17. Jasmin (Tamiko Jones) 3:01<br />
18. Beverly (Herbie Mann) 2:06<br />
19. Woodchuck (Joe Puma) 2:54<br />
<i><span style="font-size: x-small;">Recorded at the Bethlehem Studios, N.Y.C., 1955 June</span></i><br />
<br />
Personnel:<br />
Herbie Mann (Flute)<br />
Charles Andrus (Double Bass)<br />
Joe Puma (Guitar)<br />
Harold Granowsky (Drums)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com4tag:blogger.com,1999:blog-8184958738580950101.post-50507993561115946922018-04-30T14:44:00.000-07:002018-04-30T14:44:55.457-07:00Ruben Gonzalez - Chanchullo<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-iEY3ezmgtlo/WueLskTwU1I/AAAAAAAAml4/efMffz3YV_gagJRV3chm0mFIHwf7W1kRwCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="267" data-original-width="300" src="https://4.bp.blogspot.com/-iEY3ezmgtlo/WueLskTwU1I/AAAAAAAAml4/efMffz3YV_gagJRV3chm0mFIHwf7W1kRwCLcBGAs/s1600/cover.jpg" /></a></div>
While perhaps a little bit more rambling and less focused than his American solo debut Introducing Ruben Gonzalez, this album nonetheless presents some lush piano arrangements supported by mellow Cuban percussion. Gonzalez is an extremely fluid player and his sometimes complex improvisations seem to constantly come off without a hitch, which is amazing considering that he is in his eighties. The songs range from sweet and light to more passionate and forceful, but throughout, Gonzalez's unique sense of joy shines through. This album also features a brief appearance from vocalist Ibrahim Ferrer, who gained fame with Gonzalez through his work with the Buena Vista Social Club. That project has spawned a number of albums which, surprisingly, have nearly all been quality productions. This recording is certainly not the exception to the rule. - <i><span style="font-size: x-small;">by Stacia Proefock, AMG</span></i><br />
<br />
Artist: Ruben Gonzalez<br />
Album: Chanchullo<br />
Year: 2000<br />
Label: World Circuit<br />
Runtime: 51:03<br />
<br />
<b>Tracks:</b><br />
1. Chanchullo (Israel Lopez) 5:12<br />
2. De Una Manera Espantosa (Arsenio Rodriguez) 4:18<br />
3. La Lluvia 5:18 (Amadio Valdes/Orlando " Cachaito"Lopez/Miguel "Angá" Diaz/Jesus " Aguaje" Ramos/Rubén González)<br />
4. Central Constancia (Enrique Jorrín) 5:57<br />
5. Quizás, Quizás (Joe Davis/Osvaldo Farrés) 2:29<br />
6. Choco's Guajira (Alfredo "Chocolate" Armenteros) 6:52<br />
7. Si Te Contará (Félix Reina) 1:28<br />
8. El Bodeguero (Richard Egües) 5:12<br />
9. Isora Club (Coralia Lopez/Israel "Cachao" Lopez) 5:35<br />
10. Rico Vacilón (Rossendo Ruiz, Jr) 4:12<br />
11. Pa' Gozar (Aristides Soto/Tata Güines) 4:30<br />
<br />
<b>Personnel:</b><br />
Ruben Gonzalez (Piano)<br />
Orlando "Cachaito" Lopez (Double Bass)<br />
Amadito Valdes (Timbalez)<br />
Angel Terry (Congas)<br />
Roberto Garcia (Bongos, Cowbell, Guiro)<br />
Alberto Valdes (Maracas)<br />
Alejandro Pichardo Perez (Guiro, Cave)<br />
Manuel Mirabal (Trumpet)<br />
Jesus Ramos (Trombone, Vocals)<br />
Miguel "Angá" Diaz (Congas) - 2,3,6<br />
Ibrahim Ferrer (Vocals) - 2,6<br />
Richard Egües (Flute) - 4,5<br />
Cheikh Lo (Vocals) - 6<br />
Lazaro Villa (Vocals) - 4<br />
Joaquín Oliveiras (Flute) - 4<br />
Javier Zalba (Baritone Saxophone) - 1<br />
Lazaro Ordonez Enriquez (Violin) - 4<br />
Eliades Ochoa (Guitar) - 5<br />
Papi Oviedo (Tres) - 6<br />
Ry Cooder (Tres) - 10<br />
Joachim Cooder (Drums) - 10itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com2tag:blogger.com,1999:blog-8184958738580950101.post-9000776098490477672018-04-24T02:08:00.000-07:002018-04-24T02:09:31.261-07:00Bugge Wesseltoft - New Conception of Jazz<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-xT5QiSingcQ/Wt3z2bcpDyI/AAAAAAAAmgQ/ulCRBsDkyeQYgk8VGKj_39LdBLayipotgCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="471" height="320" src="https://1.bp.blogspot.com/-xT5QiSingcQ/Wt3z2bcpDyI/AAAAAAAAmgQ/ulCRBsDkyeQYgk8VGKj_39LdBLayipotgCLcBGAs/s320/cover.jpg" width="317" /></a></div>
Within the framework of his project New Conception of Jazz, Bugge successfully fused elements of jazz, house, techno, ambient, noise and free improvisation. This sound has been referred to as Future Jazz. In addition to grand piano and Fender Rhodes, Bugge uses different keyboards, percussion instruments, samplers, programming devices, and vocal effects, both in live performances and in studio recordings. For the studio recording of New Conception of Jazz (recorded in 1994), the first album from this project, Bugge gathered an impressive crew from some of the best new talent in Norwegian jazz: Ingebrigt Flaten (bass), Anders Engen (drums), Vidar Johansen (reeds), Eivind Aarset (guitar), Bjorn Kjellemyr (bass), Rune Arnesen (drums), Nils Petter Molvaer (trumpet). The recording took place during three sessions during a single week. The musicians followed schemes and notes written by Bugge, but in fact most of it was improvised. The resulting sounds were then mixed and edited by Bugge. The CD was released in 1996 by Jazzland. Playing with musicians as part of an improvising collective is an important aspect of this project, and Bugge has stated that he will always take this approach, in the studio or on the live stage. The first concert took place in Bergen at the NattJazz Festival in May that same year. The line-up was: Bugge (Fender Rhodes, Prophet 5 and looping), Ingebrigt Flaten (bass), Anders Engen (drums), Eivind Aarset (guitar, effects), Erlend Gjerde (trumpet), and Vidar Johansen (tenor/soprano sax and bass clarinet). -<span style="font-size: x-small;"><i> From Bugge's website</i></span><br />
<br />
Artist: Bugge Wesseltoft<br />
Album: New Conception of Jazz<br />
Year: 1996<br />
Label: Jazzland Records<br />
Runtime: 56:37<br />
<br />
<b>Tracks:</b><br />
1. Somewhere in Between 4:48<br />
2. New Conception of Jazz 5:10<br />
3. Spectre Supreme 5:52<br />
4. Trouble 4:58<br />
5. New Conception of Jazz 2 7:19<br />
6. Trio 7:01<br />
7. Poem 6:52<br />
8. My Street 5:35<br />
9. Modular 6:42<br />
10. Endless 2:20<br />
<i><span style="font-size: x-small;">All compositions by Bugge Wesseltoft</span></i><br />
<br />
<b>Personnel:</b><br />
Bugge Wesseltoft (Electronics, Vocals, El. Piano, Sythesizer, Piano, Percussion, Hammond Organ)<br />
Vidar Johansen (Bass Clarinet and Tenor Saxophon) - 1-5,7,9,10<br />
Trude Eick (Waldhorn) - 1-3,5,7,9<br />
Ingebrigt Flaten (Double Bass) - 1,4,5<br />
Anders Engen (Drums) - 1,4,5<br />
Jens Petter Atonsen (Trumpet) - 2,3,9<br />
Bjorn Kjellemyr (Double Bass and Bass Guitar) - 6,8,9<br />
Rune Arnesen (Drums) - 6,8,9<br />
Sjur Miljeteig (Trumpet) - 1,5<br />
Sveinung Hovensje (Bass Guitar) - 7,10<br />
Audun Kleive (Drums and Electronics) - 3<br />
Eivind Aarseth (Guitar) - 4<br />
Erlend Gjerde (Trumpet) - 4<br />
Nils Petter Molvaer (Trumpet) - 7<br />
Michy (Vocals) - 8itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com2tag:blogger.com,1999:blog-8184958738580950101.post-63041117947231900012018-03-26T09:16:00.000-07:002018-03-26T09:16:06.884-07:00James Blood Ulmer - Blues Preacher<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-iENivmsO1a8/WrkW7oMzJ3I/AAAAAAAAl08/2JfqFrV-mKMDrVebKYa1tQJz7hnIZvGEQCLcBGAs/s1600/0001923297.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-iENivmsO1a8/WrkW7oMzJ3I/AAAAAAAAl08/2JfqFrV-mKMDrVebKYa1tQJz7hnIZvGEQCLcBGAs/s320/0001923297.jpg" width="320" /></a></div>
This effort from controversial guitarist James "Blood" Ulmer sticks to a harsh blues-rock groove, with many of the one-chord vamps sounding like they are leftovers from John Lee Hooker's repertoire. There are no harmolodics (and little jazz) to be heard on the CD, and this rather primitive music is to be recommended only to fans of Ulmer's shouting vocals. - <i><span style="font-size: x-small;">by Scott Yanow, AMG</span></i><br />
<br />
The former accolyte of free-jazz greats like Ornette Coleman and Sun Ra shows that he can also follow Muddy Waters and Jimmy Reed, in one of the earliest of his long string of intense straight blues albums. Electric guitar is unusual in experimental jazz, but Blood's guitar work (and writing)is a bit unusual anywhere. I do detect some Jimmy Rogers influence in spots, and maybe some jazzier Texans like Gatemouth Brown. I like him, but it might be an acquired taste. Jazz is the teacher/Funk is the preacher. by- <i><span style="font-size: x-small;">Mark Schlezinger, Amazon.com</span></i><br />
<br />
Artist: James Blood Ulmer<br />
Album: Blues Preacher<br />
Year: 1993<br />
Label: Diw Records<br />
<i><span style="font-size: x-small;">Recorded at the Sound on Sound Studios, New York City, USA (September-November, 1993)</span></i><br />
<br />
<b>Tracks:</b><br />
1. Cheering 6:45 <br />
2. Alone To Wonder 6:17 <br />
3. Let Me Take You Home 5:15 <br />
4. Who Let The Cat Out Of The Bag? 4:37 <br />
5. Jazz Is The Teacher 6:45 <br />
6. Justice For Us All 5:05 <br />
7. Nobody But You 5:40 <br />
8. Blues Alnight 6:30 <br />
9. Get Up 7:35 <br />
10. Angel 7:05 <br />
<i><span style="font-size: x-small;">All music by James Blood Ulmer</span></i><br />
<br />
<b>Personnel:</b><br />
James Blood Ulmer (Electric Guitar, Flute, Vocals)<br />
Aubrey Dayle (Drums)<br />
Mark Peterson (Electric Bass)<br />
Ronald "Head" Drayton (Electric Guitar)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com1tag:blogger.com,1999:blog-8184958738580950101.post-4838292337718749892018-03-18T01:25:00.000-07:002018-03-18T01:25:49.666-07:00Kari Bremnes - You'd Have To Be Here<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-xnrEOQVGUjI/Wq4gowm8QnI/AAAAAAAAlqs/xQqlmXogIgcUEUXtmf4TytSVGr8FzqOMQCLcBGAs/s1600/cover.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="600" height="317" src="https://3.bp.blogspot.com/-xnrEOQVGUjI/Wq4gowm8QnI/AAAAAAAAlqs/xQqlmXogIgcUEUXtmf4TytSVGr8FzqOMQCLcBGAs/s320/cover.jpeg" width="320" /></a></div>
Some say this album has more impact than Norwegian mood, others say it is a project to itself, We say This is a Kari Bremnes album just as she is, the ability of interpreting life with her songs and life is as diverse as it comes! I like the rock guitar every now and than, I adore her voice and love these lyrics. The music is for everybody and yet in order to understand you must have lived a bit. - <i><span style="font-size: x-small;">Music Choise.com</span></i><br />
<br />
Kari Bremnes will live up to her reputation as Norwegian Joni Mitchell at the 13th album. Like her US colleague, the singer and songwriter from the Lofoten Island once again infatuates with beautiful melodies, intense emotions and verse lines full of language skills. For ten of her own compositions and an adaptation of Sandy Dennis's classic "Who Knows Where The Time Goes" she has created a melancholy-brittle folk rock with companions such as trumpeter Nils Petter Molvar, as he can come in the color only from the far north. As soon as these wistful sounds resound, the listener inevitably sees fjords passing through the skies of Midsummer Night and Polar Lights. For the second English-language album (after Norwegian Mood, 2000) Kari Bremne has translated more recent songs from her home idiom. Although some intellectual refinements and metaphors fell by the wayside, the Scandinavian woman is still fascinated by very rich text ideas. For example, in "Protection" she ponders over the security of childhood, which one painfully misses as an adult. "I See You" tells the story of a couple whose love has crept over the years. In the title track "You'd Have To Be Here" we meet a woman who wants to share everything in life with her loved one, before the transience of earthly existence strikes mercilessly. And in the song "Can It Really Be Years", it's all about unfulfilled dreams, unfulfilled life plans. All this gives Bremnes an expressiveness that is second to none, not only in Europe. - <i><span style="font-size: x-small;">by Harald Kepler, Amazon.de</span></i><br />
<br />
Artist: Kari Bremnes<br />
Album: You'd Have To Be Here<br />
Year: 2003<br />
Label: Strange Ways Records<br />
Runtime: 42:42<br />
<br />
<b>Tracks:</b><br />
1. You'd Have To Be There (Kari Bremnes) 4:19<br />
2. Protection (Kari Bremnes) 3:45<br />
3. Can It Really Be Years (Kari Bremnes) 4:16<br />
4. Zarepta (Kari Bremnes/Petter Henriksen) 3:53<br />
5. A Fantastic Time Already (Kari Bremnes) 3:52<br />
6. Full Control (Kari Bremnes) 4:18<br />
7. I See You (Kari Bremnes) 2:23<br />
8. I Would Like To Go (Kari Bremnes) 4:13<br />
9. Waltz (Kari Bremnes) 3:54<br />
10. Look Homeward, Angel (Kari Bremnes) 3:26<br />
11. Who Knows Where The Time Goes (Sandy Denny) 4:23<br />
<br />
<b>Personnel:</b><br />
Kari Bremnes (Vocals)<br />
Nils Petter Molvaer (Trumpet)<br />
Bengt Hanssen (Keyboards)<br />
Borge Petersen-Overleir (Guitar)<br />
Gjermund Silset (Double Bass)<br />
Arnfinn Bergrabb (Drums)<br />
Stig-Ove Ose (Viola)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com4tag:blogger.com,1999:blog-8184958738580950101.post-80270255438061882702018-02-28T15:01:00.000-08:002018-02-28T15:01:39.120-08:00Kari Bremnes - Norwegian Mood<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-hZ7XL1y0O8s/Wpc0cNUshHI/AAAAAAAAla8/E-MRXwRWR7kKewG5-Z5Pld_gsTBIttUcgCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="269" data-original-width="300" src="https://4.bp.blogspot.com/-hZ7XL1y0O8s/Wpc0cNUshHI/AAAAAAAAla8/E-MRXwRWR7kKewG5-Z5Pld_gsTBIttUcgCLcBGAs/s1600/cover.jpg" /></a></div>
What's one of the biggest preconceptions ageing audiophiles drag in their tattered shadows? That all they listen to is female Jazz vocalists, the sexier in the flesh the better. Depending on the year, there'll be different names detractors point to as the over-played, musically undernourished hate object du jour. Norwegian super star Kari Bremnes' Norwegian Mood might eventually gain this questionable status if audiophiles, en masse like lemmings, took the trouble to obtain this album and push it on every future CES demo imaginable. Until then, bookmark this release -- one of the few if not the only that has Kari sing in English -- as the quintessential audiophile wet dream of the new super-duper demo record. Everything aligns - production values, sound quality, compositional weight, instrumentation, arrangements, vocal glories, sophistication of delivery - and, may I add, the ubiquitous in-the-flesh beauty, too. In a way, I don't want to give away too much here to prevent the above scenario. What to say, what to leave out? Okay, here goes: We ain't talking Jazz, exactly - more an ECM Garbarek/Brahem Visible World/Pas du Chat Noir focus on stark atmospheres, moody spaciousness in accord with the craggy windswept coast lines of Norway, sea gulls on the wing, hidden coves, fishermen returning home from their nightly sojourns, lovers sailing off to the outer posts to return or not. These songs embody the kind of unfocused, far-reaching gaze of boat people used to endless horizons - mysterious, dreamy, unmoored. What to leave out? All the good stuff you should discover for yourself. With a harmless grin, let's just add that the well-hated "unholy trinity" of Patricia Barber, Diana Krall and Rebecca Pigeon just fleshed out and gained a new corner in Kari Bremnes. And unless you overplayed Mood to hollow its magic, this Norwegian lady might just become your new flame for now and later, until the fickleness of fate intervenes and presents a new contender to the temporary throne of popular applause. As for me? I intend to treat Kari with the respect she deserves and only visit her Copenhagen haunt just often enough to lust for more the next visit 'round... - <i><span style="font-size: x-small;">by Srajan Ebaen, 6moons.com</span></i><br />
<br />
Artist: Kari Bremnes<br />
Album: Norwegian Mood<br />
Year: 2000<br />
Label: Kirkelig Kulturversted<br />
Runtime: 52:13<br />
<br />
<b>Tracks:</b><br />
1. A Lover in Berlin (Kari Bremnes) 5:11<br />
2. Coastal Ship (Kari Bremnes/Petter Henriksen) 4:24<br />
3. Montreal (Kari Bremnes/Ola Bremnes) 5:45<br />
4. My Heart Is Pounding Like a Hammer (Kari Bremnes/Petter Henriksen) 3:23<br />
5. Birds (Ola Bremnes) 5:00<br />
6. Day (Kari Bremnes/Petter Henriksen) 5:34<br />
7. Wave on Rock (Kari Bremnes/Ola Bremnes/Lars Bremnes) 4:03<br />
8. The Copenhagen Cavern (Kari Bremnes) 4:28<br />
9. Song to a Town (Kari Bremnes/Ola Bremnes) 5:01<br />
10. Riddle Beside Another Riddle (Kari Bremnes) 5:40<br />
11. To Give You a Song (Kari Bremnes) 3:44<br />
<br />
<b>Personnel:</b><br />
Bengt Egil Hanssen (Keyboards, Accordion, Organ, Piano, Backing Vocals)<br />
Kari Bremnes (Vocals)<br />
Gjermund Silseth (Double Bass, Bass Guitar)<br />
Bjorn Jenssen (Drums)<br />
Finn Sletten (Percussion)<br />
Borge Petersen-Overleir (Guitar)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com6tag:blogger.com,1999:blog-8184958738580950101.post-36286625767476219592018-02-13T09:46:00.000-08:002018-02-13T09:46:49.923-08:00Grant Green - The Complete Quartets With Sonny Clark II<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-RkkZaO1E4Tg/WoMivXKg7cI/AAAAAAAAlUc/qWDF8WH5PoA6EkqGNy-e2fjKFO-KKykgQCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="600" height="310" src="https://1.bp.blogspot.com/-RkkZaO1E4Tg/WoMivXKg7cI/AAAAAAAAlUc/qWDF8WH5PoA6EkqGNy-e2fjKFO-KKykgQCLcBGAs/s320/cover.jpg" width="320" /></a></div>
Just like rice and beans, Grant Green and Sonny Clark created a synergy that was more than the sum of its parts. Nowhere is that more apparent than on "The Complete Quartets," where there were no horns competing for solos. The elegant, laid-back style that characterizes these recordings was the one in which both Green and Clark seemed most comfortable, and it shows. Ironically, neither Green nor Clark was around to see any of this music released. Apparently due to Green's prodigious output in the early '60's, Blue Note decided to shelve these "less commercial" recordings in favor of his more groove-oriented soul-jazz material. The wrong was corrected in 1980, when "Nigeria," "Gooden's Corner," and "Oleo" were released, combining to contain all the music found here except for a couple alternates. My opinion is that these tunes swing as hard as anything I've heard, and that their appeal runs the gamut — there is nothing not to like. Green's delicious riffs flow from his guitar like water from a glacier, and the analogy of melting ice shouldn't be lost; the mood here is so "cool" it burns. This is the type of music whose implied swing is so ferocious it has you on the edge of your seat howling with ecstasy. The highlight of the first disc is Gershwin's chestnut "It Ain't Necessarily So," which clocks in as the longest of the set at 10:20. Drummer Art Blakey starts things off with a subtly Latin 12/8 groove as Green joins him and sympathetic bassist Sam Jones with a decidedly loose interpretation of the melody. Blakey kicks into a straight four rhythm as Green's guitar sails over the changes, accompanied by Sonny Clark's bluesy punches and full keyboard slides. Blakey, overcome with the irresistability of the music, starts hootin' and hollerin' as Clark takes his solo. Clark, like Green, is a master of understatement and uses this to full advantage by teasing the listener with half-finished motifs drenched with the blues. As he gets ready to turn the melody back over to Green, Blakey insists for him to continue - "No, go ahead, go ahead" - a revelatory glance into the atmosphere of the session. The immensely likeable playing is augmented by excellent song selection, with some standouts being a smokin' "The Song is You," "On Green Dolphin Street," Henri Mancini's "Moon River," "Tune Up," and a "My Favorite Things" that stays much truer to the heart of the tune than any of Coltrane's more impassioned renditions. Full of intuition, soul, and swing, and lacking in pretense, "The Complete Quartets with Sonny Clark" has me asking myself"does music get any better than this?" <i><span style="font-size: x-small;">- by Reid Thompson, AllAboutJazz.com</span></i><br />
<br />
Artist: Grant Green<br />
Album: The Complete Quartets With Sonny Clark I-II<br />
Label: Blue Note Records (1999, SBM Reissue)<br />
Year: 1961-1962<br />
Runtime:<br />
CD2 63:10<br />
<br />
CD2 <b>Tracks</b>:<br />
01. Moon River (Henry Mancini/Johnny Mercer) 5:34<br />
02. Gooden's Corner (Grant Green) 8:11<br />
03. Two For One (Grant Green) 7:38<br />
04. Oleo (Sonny Rollins) 5:35<br />
05. Little Girl Blue (Lorenz Hart/Richard Rodgers) 7:12<br />
06. Tune Up (Miles Davis) 7:17<br />
07. Hip Funk (Grant Green) 8:35<br />
08. My Favourite Things (Oscar Hammerstein II/Richard Rodgers) 8:28<br />
09. Oleo (Alternate Take) (Sonny Rollins) 6:00<br />
<br />
<b>Personnel:</b><br />
Grant Green (Guitar)<br />
Sonny Clark (Piano)<br />
Sam Jones (Double Bass)<br />
Louis Hayes (Drums)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com4tag:blogger.com,1999:blog-8184958738580950101.post-56849478762512216602018-02-13T09:35:00.000-08:002018-02-13T14:16:32.979-08:00Grant Green - The Complete Quartets With Sonny Clark I<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-RMFbgDcjtOU/WoMdhvHaEOI/AAAAAAAAlUM/b4H3gQbFSqIgVZ91oXPXefbXyS6rhoWAQCLcBGAs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="600" height="310" src="https://4.bp.blogspot.com/-RMFbgDcjtOU/WoMdhvHaEOI/AAAAAAAAlUM/b4H3gQbFSqIgVZ91oXPXefbXyS6rhoWAQCLcBGAs/s320/cover.jpg" width="320" /></a></div>
Just like rice and beans, Grant Green and Sonny Clark created a synergy that was more than the sum of its parts. Nowhere is that more apparent than on "The Complete Quartets," where there were no horns competing for solos. The elegant, laid-back style that characterizes these recordings was the one in which both Green and Clark seemed most comfortable, and it shows. Ironically, neither Green nor Clark was around to see any of this music released. Apparently due to Green's prodigious output in the early '60's, Blue Note decided to shelve these "less commercial" recordings in favor of his more groove-oriented soul-jazz material. The wrong was corrected in 1980, when "Nigeria," "Gooden's Corner," and "Oleo" were released, combining to contain all the music found here except for a couple alternates. My opinion is that these tunes swing as hard as anything I've heard, and that their appeal runs the gamut — there is nothing not to like. Green's delicious riffs flow from his guitar like water from a glacier, and the analogy of melting ice shouldn't be lost; the mood here is so "cool" it burns. This is the type of music whose implied swing is so ferocious it has you on the edge of your seat howling with ecstasy. The highlight of the first disc is Gershwin's chestnut "It Ain't Necessarily So," which clocks in as the longest of the set at 10:20. Drummer Art Blakey starts things off with a subtly Latin 12/8 groove as Green joins him and sympathetic bassist Sam Jones with a decidedly loose interpretation of the melody. Blakey kicks into a straight four rhythm as Green's guitar sails over the changes, accompanied by Sonny Clark's bluesy punches and full keyboard slides. Blakey, overcome with the irresistability of the music, starts hootin' and hollerin' as Clark takes his solo. Clark, like Green, is a master of understatement and uses this to full advantage by teasing the listener with half-finished motifs drenched with the blues. As he gets ready to turn the melody back over to Green, Blakey insists for him to continue - "No, go ahead, go ahead" - a revelatory glance into the atmosphere of the session. The immensely likeable playing is augmented by excellent song selection, with some standouts being a smokin' "The Song is You," "On Green Dolphin Street," Henri Mancini's "Moon River," "Tune Up," and a "My Favorite Things" that stays much truer to the heart of the tune than any of Coltrane's more impassioned renditions. Full of intuition, soul, and swing, and lacking in pretense, "The Complete Quartets with Sonny Clark" has me asking myself"does music get any better than this?" -<i><span style="font-size: x-small;"> by Reid Thompson, AllAboutJazz.com</span></i><br />
<br />
Artist: Grant Green<br />
Album: The Complete Quartets With Sonny Clark I-II<br />
Label: Blue Note Records (1999, SBM Reissue)<br />
Year: 1961-1962<br />
Runtime:<br />
CD1 62:20<br />
<br />
CD1 <b>Tracks</b>:<br />
1. Airegin (Sonny Rollins) 7:32<br />
2. It Ain't Necessarily So (George Gershwin/Ira Gershwin) 10:20<br />
3. I Concentrate On You (Cole Porter)5:40<br />
4. The Things We Did Last Summer (Sammy Cahn/Jule Styne) 5:54<br />
5. The Song Is You (Oscar Hammerstein II/Jerome Kern) 7:44<br />
6. Nancy (With The Laughing Face) (James Van Heusen/Phil Silvers) 6:20<br />
7. Airegin (Alternate Take) (Sonny Rollins) 7:34<br />
8. On Green Dolphin Street (Bronislaw Kaper/Ned Washington) 6:25<br />
9. Shadrack (Robert MacGimsey) 6:20<br />
10. What Is This Thing Called Love (Cole Porter) 5:49<br />
<br />
<b>Personnel:</b><br />
Grant Green (Guitar)<br />
Sonny Clark (Piano)<br />
Sam Jones (Double Bass)<br />
Art Blakey (Drums)itrhttp://www.blogger.com/profile/06569261643653598873noreply@blogger.com2