Pinetop Perkins And Friends Rar
Pink Panther Theme (Quincy Jones) (3:24)02. Watermelon Man (Les McCann) (3:42)03. Fever (Sarah Vaughan) (2:49)04. Mercy, Mercy, Mercy (Willie Bobo) (2:37)05.
Work Song (Ray Brown All-Star Big Band) (5:19)06. Cantaloupe Island (Kai Winding) (5:45)07. Killer Joe (Art Farmer - Benny Golson Jazztet) (4:08)08. The 'In' Crowd (Ramsey Lewis Trio) (5:54)09. Lullaby Of Birdland (George Shearing) (3:13)10. Mack The Knife (Ella Fitzgerald) (4:42)11.
Take Five (Dave Brubeck Quartet) (9:54)12. Cute (Milt Buckner) (3:04)13. Caravan (Wes Montgomery) (2:40)14. Walk, Don't Run! (Johnny Smith) (3:20)15.
Bluesette (Toots Thielemans) (4:50)16. A Night In Tunisia (Red Garland) (6:56).
////////Automatic translation:Keyboardist Ethan Holtzman native of Los Angeles, travel Cambodia, subjugates with the sound of old songs from the sixties and even anonymous strangers local groups, which gives the idea of recreating that sound in his native country. The result of this is Dengue Fever, apart from having a Cambodian vocalist, keyboardist our faithful friend sound interprets the songs of the band with the legendary Farfisa organ and Optigan, keyboard late 60s who used prerecorded tracks.
///////Automatic translation:Rag Time and Boogie with this highly successful and little known in Spanish-speaking countries, with an excellent Selection of rags and boogies pianist.Born in Tunapuna in Trinidad and Tobago in 1910 or 1914 (it is uncertain date of birth), he went to Trinidad in the 1940s and traveled to the United States to study with Alexander Borovsky and in 1946 moved to London, where he had won a scholarship at the Royal Academy of Music. She became the first female pianist who was awarded the highest rating of the Academy of Music.While doing his studies played in clubs and London theaters, was discovered by businessman Bernard Delfont, with whom he recorded his first albums achieved huge success, which continued uninterrupted until well into the 60s has been the first black person to have one # 1 on the chart.Biography. Review by Scott YanowA Nice Day is a nice recording for multireedist Buddy Collette who plays alto, clarinet, flute and tenor during the three sessions heard on the CD reissue.
Five of the ten selection's are Collette's originals and, although the title cut and 'Fall Winds' (which was renamed 'Desert Sands') are both better-known for the versions he recorded with the Chico Hamilton Quintet than for these renditions, the original runthroughs are also excellent. Collette is the main voice throughout this set of lightly swinging music although he gets support from the fine rhythm sections (which include either Don Friedman, Dick Shreve or Calvin Jackson on piano).
Overall this set serves as a good all-around showcase for Buddy Collette's playing and writing talents. Tracklist (2 Lps On 1 Cd)1 Blue Devil Blues (Stitt) 4:232 Home Free Blues (Stitt) 4:193 Blue Prelude (Jenkins, Bishop) 3:034 Frankie and Johnny (trad.) 5:285 Birth of the Blues (DeSylva, Brown, Henderson) 5:536 A Blues Offering (Stitt) 4:017 Hymnal Blues (Stitt) 6:038 Mornin’ after Blues (Stitt) 2:589 Blues for Lester (Stitt) 4:1810 After You’ve Gone (Creamer, Layton) 3:4211 Street of Dreams (Lewis, Young) 2:3712 The Way You Look Tonight (Fields, Kern) 4:5713 Presto (Stitt) 3:2214 Tune Up (Davis) 4:0215 I Got Rhythm (Gershwin, Gershwin) 3:0316 What’s New? (Haggart, Burke) 3:3917 Subito (Stitt) 3:5418 If I Had You (Campbell, Connelly, Shapiro) 4:0619 I’ll Remember April (Raye, DePaul, Johnston) 4:33Personnel# 1-8 from 'Sonny Stitt Blows The Blues' (Verve MG VS-6149 / Stereo)Sonny Stitt - as & tsLou Levy - pLeroy Vinnegar - bMel Lewis - drRecorded in Los Angeles; December 2 # 1 & 6, & 22 # 2-5, 7-8, 1959# 9-19 from 'The Hard Swing' (Verve MG VS-6038 / Stereo)Sonny Stitt - as & tsAmos Trice - pGeorge Morrow - bLennie McBrowne - drRecorded in New York; February 9, 1959. Sam had regular violin lessons since the age of 12 and at 14 became interested in keyboard instruments, the Hammond organ in particular. After a period of private jazz piano tuition with local teachers within the area of his native Rimini in Italy he joined the CPM (Centro Professione Musica) in Milan.
Pinetop Perkins And Friends Rar Online
Here he obtained a jazz piano diploma receiving tuition from the renowned pianist Franco D’andrea. During the same years he completed a university degree in music (DAMS) and he also attended the summer jazz clinics of Siena Jazz.From the year 2000 Sam has lived in London.
Here he studied with the British organ legend Mike Carr and obtained a First Class Honours Degree in jazz music from Middlesex University. He also had hammond organ lessons with Doctor Lonnie Smith in New York.Very soon Sam became established in the London jazz scene. Violinist Regina Carter is considered the foremost jazz violinist of her generation – a designation which doesn’t quite paint the picture. As a result of her curiosity, passion, and quest for beauty brought to every stop taken on her full musical journey, she was awarded a MacArthur Fellowship (a “genius grant”). Those are more apparent than ever on her upcoming debut Southern Comfort (Sony Music Masterworks), in which she explores the folk music of the South.
The album will be released on March 4, 2014 and coincide with an international tour.Southern Comfort thematically connects Carter’s earlier albums I’ll Be Seeing You: A Sentimental Journey (2006), which features her mother’s favorite early jazz standards; and Reverse Thread (2010) which celebrates the tradition of African music re-imagined for violin, accordion, bass, drums and kora. On her new album she explores the folk tunes her paternal grandfather, a coalminer, would have heard as he toiled in Alabama – and the project expanded to include other folk tunes of the region.Intent on making the past, present, Regina sought out distant relatives and books about the era in which her grandfather lived. From there, she went to the Library of Congress and the renowned collections of folklorists such as Alan Lomax and John Work III digging deep into their collected field recordings from Appalachia. On Southern Comfort, Regina interprets her own roots through a modern lens.“When I would hear some of these field recordings, if I heard something that touched me I put it on the list,” said Carter. “I had maybe 50 tunes that I felt strongly about, and I finally forced myself to work more on those to stop myself from collecting more.”The 11 tracks on Southern Comfort include Carter’s interpretations of Cajun fiddle music, early gospel and coal miner’s work songs in addition to some more contemporary tunes.“In the Appalachians there were Scottish and Irish descendants, slaves and Native Americans. It was a cultural hodgepodge and the music resulting from it is intoxicating. This disc was to pay homage to my family,” said Carter, “but it turned out to be so much more.”The musicians on this recording bring a different mixture of backgrounds to the project, including guitarists Adam Rogers and Marvin Sewell, bassists Chris Lightcap and Jesse Murphy, accordionist Will Holshouser and drummer Alvester Garnett, who also provided arrangements.
Stefon Harris, Xavier Davis and Nate Smith also contributed arrangements, about which Carter expressed, “Each arranger brings out something musically that’s unique to them which speaks to me.”On being signed to Sony Music Masterworks, Carter adds, “I’m so excited to work with a label that has such history; it’s the perfect place for this project. Moreover, it’s wonderful to be reunited with U.S. Label head Chuck Mitchell. I’ve provided Southern Comfort – the nurturance and comfort Chuck and SONY have provided covers a realm far greater.” http://reginacarter.com/. Review by Steve HueyGrant Green's third album to be released, Grantstand teams the clear-toned guitarist with an unlikely backing group of musicians who rarely appeared with Blue Note otherwise: tenor saxophonist Yusef Lateef (who doubles on flute), organist Brother Jack McDuff, and drummer Al Harewood. Although Lateef was beginning to delve deeply into Eastern tonalities and instruments around the same time, his playing here is pretty straightforward and swinging, fitting the relaxed, bop-tinged soul-jazz that makes up most of the session.
For his part, McDuff is mellower than his usual ferocious self, laying back and swinging with a blissful ease. Green contributes two bluesy originals, the nine-minute title track and the 15-minute 'Blues in Maude's Flat,' which are turned into loose, loping jams that rank as some of the best examples of Green's ability to work an extended groove. (The CD bonus track, 'Green's Greenery,' is in much the same vein, though not as long.) Elsewhere, Green leads a delicate, sensitive exploration of 'My Funny Valentine' that ended up as his greatest standard performance to date, setting the stage for a great deal more work in this vein that was soon to be forthcoming (including his brilliant sessions with Sonny Clark). Still, the groove is what reigns supreme for most of the album; if you're looking for Green the soul-jazz groovemaster, Grantstand is an excellent place to find him. Joe Roland (May 17, 1920 – October 12, 2009) is an American jazz vibraphonist.Roland began as a clarinetist, attending the Institute of Musical Art (later known as the Juilliard School) from 1937 to 1939. He started on xylophone in 1940 and began playing vibraphone in the middle of the decade, playing in jazz clubs in New York City. Influenced by the nascent bebop movement, Roland put together his own ensembles late in the decade, and in the 1950s he played with Oscar Pettiford (1951), George Shearing (1951–53), Howard McGhee, and Artie Shaw and his Gramercy Five (1953–54), Freddie Redd (1955), Mat Mathews (1956), and Aaron Sachs (1956).Roland recorded occasionally as a leader; he released on Rainbow in 1949, on Savoy (1950, 1954), Seeco (1953–54), and Bethlehem (1955).In the early sixties Roland relocated from New York to Miami Florida.
He was an influential part of a thriving jazz scene in South Florida for many years. During his 13 year 'gig' at Monty Trainer's Bayshore Restaurant in Coconut Grove he was credited for having trained many young musicians from the University of Miami. He worked steadfastly throughout his life refining his art humbly in local clubs accompanied by bassists such as Lew Berryman and Mark Trail, and singers like Sandy Patton. His dedication to his 'musicianship' remained the focus of his life. He died of natural causes at the age of 89 in Palm Beach County Florida. He was known to all as a 'True and Pure Jazz Musician.'
Roland's contributions can be appreciated in a quote from Peter Dempsy regarding Artie Shaw's Summit Ridge Drive album: 'The Gramercy Five recordings of 1953 and 1954 document a brilliant phase in early modern jazz, manifested in the presence of pianist Hank Jones, guitarist Tal Farlow, bassist Tommy Potter and vibraphonist Joe Roland.https://en.wikipedia.org/wiki/JoeRoland. Howard Roberts was born in Phoenix, Arizona in 1929. He began playing guitar at age 8 and by age 15 was playing gigs in and around the Phoenix area. In 1950 (at age 20) Howard decided to move to Los Angeles, and through hard work and the invaluable assistance of fellow guitarist/arranger-composer Jack Marshall, Howard met and began playing with some of L.A.' S very best musicians, including Bobby Troup, Chico Hamilton and Barney Kessel. This led to a job with Bobby Troup and circa 1956 to a solo recording contract with Verve Records. At around that same time as he signed with Verve, Howard decided to concentrate on recording/studio work - work that he would do nearly non- stop until the early 1970's.
Pinetop Perkins And Friends Rar 2017
Review by Stephen Thomas ErlewineAs he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs - including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley - aren't particularly distinguished, but the vibe is important, not the material. And the band - Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris - strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps.
Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper. He rarely was quite as loose on his late-'60s/early-'70s records as he is here, and that's what makes Midnight Creeper a keeper. Review by Scott YanowMost of Herbie Mann's Atlantic sessions of the 1960s are among the flutist's best and most popular work. Mann and his regular group of 1963 (which includes vibraphonist Dave Pike, pianist Don Friedman, guitarist Attila Zoller, bassist Ben Tucker and drummer Bob Thomas with added percussionists Willie Bobo and Potato Valdez) are heard in spirited form on this set from the 1963 Newport Jazz Festival.
Hirens boot cd 9 8 zip code. There are two surprises, both having to do with Antonio Carlos Jobim tunes. The bossa nova hit 'Desafinado' is taken in straight 4/4 time without the percussionists, which makes it sound like a new song. And three months after Stan Getz, Jobim and the Gilbertos recorded 'The Girl From Ipanema' (but before it was even released), Mann can be heard playing an instrumental version of the song, here listed as 'Garota De Ipanema.' A catchy rendition of 'Soft Winds,' the bossa nova 'Samba De Orfeu,' and Ben Tucker's 'Don't You Know' round out the well-played program. Called “The hippest cat ever to Swing an accordion”, Art Van Damme was born in the small town of Norway, Michigan in 1920. The 40’s and 50’s saw the classically trained Van Damme revolutionize the way the accordion was played, removing it from its stereotyped role as a polka playmate; in 1947 Van Damme made the cover of the prestigious jazz magazine Downbeat and was voted “Top Accordionist” 10 years in a row. He starred on such popular American TV programs as “Today”, “The Dinah Shore Show”, and “The Tonight Show”, and toured Europe some 40 times.
With his decision to combine guitar and vibes with accordion, Van Dam’s groups developed a unique sound early-on. His recordings with MPS were some of his best, given the company’s predilection of allowing the musicians a free hand. As one reviewer put it, Van Damme played “right-hand runs with a velocity and lightness of touch that defied the presumed limitations of the instrument, consistently emphasizing the lyric contours of a melodic phrase rather than the lightning technical flourishes that led up to it.”. March 1st, 1932: Leroy Washington was born in Palmetto, Louisiana. Washington lived in Opelousas, Louisiana, for most of his short life.
A Blues singer and guitarist, Washington played and recorded Swamp Blues with the likes of J.D. Miller and Lonesome Sundown. His biggest hit was for Excello in 1958, when he recorded 'Wild Cherry'. Little else is known about Leroy Washington, who recorded several sessions between 1957 and 1961 for Jay Miller. He was recalled by Miller as perhaps his favorite blues guitarist.
He only released a handful of sides, however, he had recorded a considerable legacy of material for Miller, which had lain unissued for decades. Washington died on June 29th, 1966 in Oakdale, Louisiana at the age of 34. Personnel & Credits:Kermit Moore CelloBill Salter Bass (Electric)Jimmy Johnson, Jr. DrumsLew Hanh Engineer, RemixingBill Jones BassThe Sweet Inspirations Vocals (Background)Yusef Lateef Oboe, Piano (Electric), Sax (Tenor), Bamboo Flute, Flute, Guitar, PianoKenny Barron Piano (Electric), PianoNeal Boyer Chimes, Vibraphone, PercussionLadzi Cammara African PercussionBob Cunningham BassEric Gale GuitarAlbert “Tootie” Heath Drums, FluteJimmy Johnson DrumsRay Bryant Piano (Electric), PianoSam Jones BassChuck Rainey Bass. Francis BayBorn Frans Bayetz, Rijkevorsel, Belgium, 1914Died 25 April 2005, Bonheiden, BelgiumLeader of some of the wildest big band ensembles of the space age pop era, Francis Bay started honing his chops at the young age of seven, playing clarinet with local orchestras in his area.
By fourteen, he was already writing his own compositions and soon after, began a lifetime captivation with jazz. He won first prize for clarinet performance at the Conservatoire of Malines (Mechelen) in 1930, and later added saxophone and trombone to his repertoire. In the late 1930s, he played with several of the more successful European swing bands, including Paul Godwin's and Boyd Bachman's. He continued to work professionally during World War Two, mostly with Belgian and Dutch dance bands.In the late 1940s, he helped form an influential European big band, the Skymasters.
He also arranged and composed music for Dutch and German films and played with groups throughout northern Europe. Finally, in 1954, he formed his own big band, the group with which he came to greatest fame. Within its first year of existence, the band won the Golden Gondola award at the International Music Fair in Venice. Two years later, in 1956, Bay was selected to be director for popular music at Vlaams Radio-Televisie (the official Flemish radio and television network in Belgium).Although Bay's band was quite popular on radio in Europe, it was the lucky coincidence of the 1958 World's Fair being held in Brussels that brought him to the attention of American audiences.Bay's band shared the World's Fair stage with numerous major American jazz and pop stars, including Benny Goodman, and Omega, a small American jazz label, licensed a slew of Bay's Belgian recordings for release in the U.S.
Unlike many European bands, which offered loving but pale imitations of American bands, Bay's not only produced flawless duplicates of hits by Basie, Glenn Miller, Tommy Dorsey, and others, but staked out their own territory as well. On his Latin-flavored recordings, Bay sounds like he could go head-to-head with Perez Prado in a battle of bands.In addition to his many Omega albums, Bay also provided the material for a number of albums released on Directional Sound. Credited to 'John Evans'-the Americanized name of his piano player, Jean Evans-or 'Don Catelli'-these are certainly the best of an attractive and well-produced (if shoddily annotated) series of glossy gatefolds clearly targeted at the same market as Enoch Light's Command albums.As American listeners' interest in jazz in general and European jazz in particular waned in early 1960s, Bay's albums vanished from the U.S. His work in Belgium continued, however. He composed, arranged, and conducted music for dozens of shows on VRT, including everything from game shows to Belgium's annual competition for its entrant to the Eurovision Song Contest. When he retired in 1979, however, he cut off all ties with the network, refusing to return in the late 1990s for VRT's 50th anniversary celebrations.
Bandleader, pianist, arranger, songwriter and vocalist Buddy Johnson was a major figure in R&B history, not just because of the longevity of his recording career (1939 – 1964) but also because of the sheer quality and versatility of his band. In the 1940s The Buddy Johnson Orchestra had a string of hits on Decca (many featuring vocalists Ella Johnson, Buddy’s sister, and Arthur Prysock) and was a huge live attraction in their New York base and in the Southern States. Like other top big bands of the era, their repertoire included dance tunes, boogies, blues and ballads.