Monday, September 27, 2010

10

Funky Nassau - The Beggining Of The End

Rating: 8/10
Sound Quality:
Lossless
Format: Flac
Record Label: Alston Records
Year Released:
1971
Album Covers: Included
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Note From Dada!
Ώτα μου καλημέρα και καλή εβδομάδα!
Σε funky ρυθμούς θα κινηθούμε σήμερα, με ένα εκρηκτικό, εκπληκτικό, must hear! δισκάκι που προέρχεται από την πρωτεύουσα των Bahamas το Nassau (εξού και ο τίτλος του δίσκου). Πρόκειται για τον πρώτο full length δίσκο των "The Beggining Of The End". Συγκρότημα αποτελούμενο από τα αδέρφια  Munnings (Ray όργανο-φωνητικά, Roy κιθάρα/φωνητικά, Frank τύμπανα/φωνητικά) και τον μπασίστα Fred Henfield. Εκτός των μουσικών του  συγκροτήματος τα κομμάτια πλαισιώνονται και από ένα σχήμα πνευστών το οποίο παραθέτω αναλυτικά πιο κάτω με τη σύνθεση όλων των μουσικών. Όλος ο δίσκος αποτελείται από δικές τους συνθέσεις στις οποίες εκτός από τον εξαιρετικό funk ήχο υπάρχουν αρκετές calypso και "λάτιν" πινελιές . Σε γενικές γραμμές πρόκειται για ένα  διαμάντι που ακούγεται από την αρχή ως το τέλος (και αρκετές φορές στο repeat) το οποίο επανακυκλοφόρησε σε  Lp και Cd το 2008 (δεν είμαι πολύ σίγουρος για τη χρονιά-αν κάποιος ξέρει ας στείλει ένα comment) . Η δικιά μου κόπια  προέρχεται από το προσωπικό μου "digging" στο διαδίκτυο, για την οποία όμως δυστυχώς αγνοώ παντελώς την "πηγή" της καθώς πάει αρκετός καιρός που βρέθηκε ανάμεσα στις μουσικές μου. Anyway να είναι καλά ο άνθρωπος...
Το γνωστότερο κομμάτι του δίσκου είναι το ομώνυμο "Funky Nassau" το οποίο άλλωστε ήταν και η επιτυχία με την οποία έγιναν γνωστοί. Ενώ και γω θεωρώ ότι πρόκειται  για ένα απ' τα καλύτερα κομμάτια που περιέχεται στο δίσκο, λέω να παραμείνω στα δικά μου κολλήματα και να σας αναρτήσω ως "πρόγευση" του δίσκου το αγαπημένο μου  "Come Down" και το απίθανο "Monkey Tamarind".

Σας φιλώ στο μόντεμ!
Radiodada

Come Down-The Beggining Of The End


Monkey Tamarind-The Beggining Of The End

* Από την μικρή έρευνα που έκανα στο διαδίκτυο εκτός από 2ο full length δίσκο τους (το οποίο ως τίτλο φέρει και το όνομα του σχήματος) τα υπόλοιπα δισκάκια που κυκλοφόρησαν είναι 45άρια και όλα για λογαριασμό της Alston Records. Επίσης μερικά 45άρια για την ίδια εταιρεία κυκλοφόρησε ως solo ο οργανίστας και τραγουδιστής του σχήματος Ray Munnings. Οι πληροφορίες αυτές προέρχονται απ' το κατατοπιστικότατο globaldogproductions.info (κλικ εδώ)

Σύνθεση:
Raphael "Ray" Munnings: Organ, Vocals
Liroy "Roy"Munnings: Guitar, Vocals
Frank "Bud" Munnings: Drums, Vocals
Fred Hendfield: Bass
Neville Sampson: Trumpet
Venron Mueller: Trombone
Raphl Munnings: Tenor Sax
Kenneth Lane: Tenor Sax
Freddie Munnings: Clarinet

About The Beggining Of The End
The Beginning of the End was a funk group from Nassau, Bahamas. The group consisted of three brothers and a fourth member on bass. They released an album entitled Funky Nassau in 1971 on Alston Records (a subsidiary of Atlantic Records), and the track "Funky Nassau - Part I" became a hit single in the U.S., peaking at #15 on the Billboard Hot 100 chart, and #7 on the Billboard Black Singles chart. The same track reached #31 in the UK Singles Chart in March 1974.

Monday, September 20, 2010

4

Legends Of Acid Jazz - Sonny Stitt


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Prestige
Year Released: 1998
Album Covers: Included
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Note From Dada!
Ώτα μου καλημέρα,
Στο σημερινό post συναντάμε έναν φοβερό σαξοφωνίστα που ενώ ο ήχος του περιέχεται  σε πάνω από 100 δίσκους και συνεργάστηκε με τα μεγαλύτερα ονόματα της jazz (Art Blakey, Dizzy Gillespie, Stan Getz, Miles Davis, Brother Jack McDuff, Bud Powell, Oscar Peterson...δεν με παίρνει να γράψω περισσότερα...) δεν χαίρει αντίστοιχης αναγνώρισης. Μπορεί να οφείλεται στο γεγονός ότι δεν ηχογράφησε ποτέ για την Blue Note (τουλάχιστον ως leader αν κάποιος γνωρίζει για συμμετοχή ας με ενημερώσει) ή το γεγονός ότι ο ήχος του (κατά πολλούς) θύμιζε τον Charlie Parker (αυτό δεν σημαίνει κατ' ανάγκη ότι τον ξεσήκωσε από τον Parker) ή πιο απλά γιατί γενικότερα κράτησε ένα low profile σε σχέση με τα media. Ασχέτως πάντως των παραπάνω, κάποια στιγμή o Coltrane ερωτηθείς για τον αγαπημένο του τενόρο σαξοφωνιστα είχε αναφέρει το ονομά του.
O λόγος για τον εξαιρετικό σαξοφωνίστα από την Βοστώνη Sonny Stitt.
"Legends Of Acid Jazz"  o τίτλος του cd που πρόκειται για προϊόν 2 σε 1, καθώς εδώ περιέχονται δύο δισκογραφικές του δουλειές. Συγκεκριμένα το "Turn It On!" (1971) (tracks 01 εώς 05) και το "Black Vibrations" (επίσης 1971)  (tracks 06 εώς 11). Και στα δύο αυτά δισκάκια παρευλάνει μία αφρόκρεμα μουσικών όπως ο εκπληκτικός drummer Idris Muhammad,  ο συνήθης ύποπτος σ΄αυτά τις jazz funk session Melvin Sparks στην κιθάρα και ο φοβερός οργανίστας Leon Spencer στον οποίο ανήκει πάνω από το ήμισυ των συνθέσεων του "Turn It On". Και εκεί που κοιτάς τις (κατά τ' άλλα πολύ φτωχές) σημειώσεις αυτής της "συλλογής", στo credit του Recording Engineering πέφτεις για μία ακόμα φορά πάνω σε ποιον άλλον?....μα φυσικά στον πανταχού παρών Rudy Van Gelder!
Κι ενώ αυτοί οι δύο αυτοί εξαιρετικοι δίσκοι για λογαριασμό της Prestige ηχογραφήκαν στη δύση (τουλάχιστον χρονολογικά) της καριέρας του Stitt, δεν σου περνάει καθόλου από το μυαλό να πεις κάτι αντίστοιχο για τον ήχο του που ακούγεται φρεκόστατος.
Μία γεύση με ένα κομμάτι από τον κάθε δίσκο θα σας πείσει!

Miss Riverside (Turn It On!)


Black Vibrations (Black Vibrations)


Καλή Ακρόαση!
Radiodada














About Sonny Stitt
Edward "Sonny" Stitt (b. February 2, 1924, Boston, Massachusetts – d. July 22, 1982, Washington, D.C.) was an American jazz saxophonist of the bebop/hard bop idiom. He was also one of the most well-documented saxophonists of his generation, recording over 100 albums in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. He is considered the greatest disciple of Charlie Parker. Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with blues and with ballad pieces such as "Skylark".

Stitt was born in Boston, Massachusetts and grew up in Saginaw, Michigan. Stitt had a musical background; his father was a college music professor, his brother was a classically trained pianist, and his mother was a piano teacher.

In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Stitt's improvisations were more melodic/less dissonant than those of Parker (Parker considered melodic improvisations to be self-indulgent whereas Stitt did not. Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands. Stitt featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band in 1945.

Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker emulator. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics.

Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor. He played with other bop musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves."

Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.

He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey.


In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the album Just The Way It Was - Live At The Left Bank, recorded in 1971 and released in 2000.

Stitt, joining the Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk and bassist Al McKibbon) on some albums for the Mercury Records label, and recording sessions for Cobblestone and other labels. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22.

Wednesday, September 15, 2010

7

Stan Getz With Guest Artist Laurindo Almeida


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Verve
Year Released: 1963(Original), 2008(Reissue)
Album Covers: Included
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Note From Dada!
Ώτα μου, καθώς μας τελειώνει σιγά σιγά η καλοκαιριά (τουλάχιστον ημερολογιακά), ποστάρω στον απόηχο της ένα κλάσικ του Stan Getz έτσι....σαν καλοκαιρινό "flash back" ή "επίλογο" ας πούμε... Ξεκρεμάω τις σαγιονάρες, σηκώνω και την dada από την ξαπλώστρα (φτου! δεν μου πάει η καρδιά ρε γαμώτο...) και βάζω στη θέση της μία πιο επίκαιρη σε παραλλαγή τζιμινιέρας*. Χωράει πολύ κουβέντα αυτή η φάση  της απαγόρευση του καπνίσματος...(εγώ προσωπικά δεν φουμέρνω καθώς έχω επιλέξει άλλους τρόπους να κάνω κακό στην πάρτη μου)...άλλα ας μην το ανοίξω τώρα αυτό το ζήτημα γιατί θα μπλέξουμε...
Anyway.Μουσική.
Stan Getz από το 1963 σε μία συνεργασία (όπως δηλώνει άλλωστε και ο τίτλος του δίσκου) με τον κιθαρίστα Laurindo Almeida. Έξι μουσικά θέματα με τον κλασικό και γνώριμο ήχο του Getz, σε τέσσερα εκ των οποίων ο Almeida εκτός από την ανάμειξή του ως κιθαρίστας έχει και τον ρόλο του συνθέτη ('Winter Moon," "Do What You Do, Do", "Samba Da Sahra" και "Maracatu-Too"). Εδώ εκτός των άλλων υπάρχει ίσως το πιο αγαπημένο μου bossa μουσικό θέμα,  το πανέμορφο "Menina Moca" του Luiz Antonio το οποίο και ποστάρω προς άμεση ακρόαση. Κι ενώ πρόκεται για ένα κομμάτι το οποίο γράφτηκε απ' την δυτική πλευρά του Ατλαντικού, θεωρώ κορυφαία την προσέγγιση του Βόσνιου τρομπετίστα Dusko Goykovich ο οποίος το έχει διασκευάσει εις διπλούν (Samba Tzigane-2006, Summit Octet-2009). Συγκεκριμένα η version που περιλαμβάνεται στον δίσκο του "Dusko Goykovich-Summit Octet" είναι απλά εξαιρετική. Αν σας κίνησα την περιέργεια το κομμάτι και (φυσικά) ολόκληρο τον δίσκο μπορείτε να τον βρείτε πατώντας εδώ.

Σας φιλώ στο μόντεμ!
Radiodada

Menina Moca-Stan Getz With Laurindo Almeida


Σύνθεση:
Stan Getz: Tenor Saxophone
Laurindo Almeida: Guitar
George Duvivier: Bass
Edison Machado, Jose Soorez, Dave Bailey: Drums
Luiz Parga, Jose Paulo: Latin Rythm

* Η γιαγιά "Παπαστράτου" είναι φωτογραφία από Flickr.com του χρήστη Inesca και μπορείτε να τη βρείτε πατώντας εδώ.


About Stan Getz
Stanley Gayetzky (February 2, 1927 in Philadelphia – June 6, 1991 in Malibu, California), usually known by his stage name Stan Getz, was an American jazz saxophone player. Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young. In 1986, however, Getz said: "I never consciously tried to conceive of what my sound should be..." Getz played a Selmer Mark VI tenor saxophone.
Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev, Ukraine area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.

He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers.

In 1943 at the age of 16, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in 'The Second Herd', and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left 'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.

In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.

Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado," from the same album. It sold over one million copies, and was awarded a gold disc. As a follow-up, Getz recorded the album, Jazz Samba Encore!, with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfa. It also sold more than a million copies by 1964, giving Getz his second gold disc.

He then recorded the album Getz/Gilberto, in 1963, with Tom Jobim, guitarist Charlie Byrd, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz tracks. Getz/Gilberto won two Grammys (Best Album and Best Single). A live album, Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. Even while still working with the Gilbertos, he recorded Nobody Else But Me, an album of straightforward jazz with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out 30 years later, after Getz had died.

In 1972, Getz recorded in the fusion idiom with Chick Corea Tony Williams and Stanley Clarke. This group, without Getz, went on to become Return to Forever, and many of the pieces, including "La Fiesta", remained in their repertoire. In this period Getz experimented with an Echoplex on his saxophone. He had a cameo in the movie, The Exterminator (1980).

Towards the end of his life, the then drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz described as "my musical other half." His tenor saxophone of choice was the Selmer Mark VI, whilst on early recordings he had used a White Plastic Brilhart Tonalin mouthpiece.

In the mid-1980s he worked regularly in the San Francisco Bay area and taught at Stanford University where he was artist-in-residence at the Stanford Jazz Workshop until 1988. In 1986, he was inducted into the Down Beat Jazz Hall of Fame. During 1988, Getz worked with Huey Lewis and the News on their Small World album. He played the extended solo on the title track, which became a minor hit single.

About Laurindo Almeida
Laurindo Almeida (September 2, 1917, São Paulo, Brazil–July 26, 1995, Van Nuys, California) was a Brazilian guitarist.
Prior to being invited to the United States in 1947 by Stan Kenton, Laurindo Almeida played guitar in Rio de Janeiro where he was known for his classical Spanish guitar playing. He joined Kenton's band during the height of its success in the 1940s, then was employed as a studio musician. In 1953 he recorded, with Bud Shank, two albums called Brazilliance for the World Pacific label. He also recorded with Baden Powell, Stan Getz and Herbie Mann, among others, and recorded for film and television, like 1956s Good-bye, My Lady.

From 1974 through 1982 he was a member of the chamber Jazz group The L.A. Four. It was during the 1960s when he enjoyed his greatest recognition, winning several Grammy Awards for his work. In 1961, he won Grammy Awards for Best Engineered Album, Classical and Best Chamber Music Performance. The following year he won Grammy Awards for Best Classical Performance - Instrumental Soloist or Duo and Best Contemporary Classical Composition.

In 1965 he won Grammy Award for Best Instrumental Jazz Performance - Large Group or Soloist with Large Group.
He died on July 26 1995, aged 77.

Tuesday, September 7, 2010

2

Favorites Vol.2 - Turk Murphy's Jazz Band


















Rating: 5.5/10 
Sound Quality: Lossless
Format: Flac
Record Label: Good Time Jazz
Year Released: 1995
Album Covers: Included
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Note From Dada!
Ώτα μου καλησπέρα,
Πρώτο δισκάκι για τον μήνα Σεπτέμβρη μία συλλογή αποτελούμενη από 22 κομμάτια (εφτά εκ των οποίων δημοσιεύονται για πρώτη φορά), από τον τρομπονίστα-τραγουδιστή Turk Murphy και την παρέα του. Για την ακρίβεια από όλες τις "παρέες" που απάρτισαν τους Turk Murphy's Jazz Band από το 1947 εώς το 1952. Πρόκειται για το 2ο Vol. μία σειράς που απότελέιται από δύο cd (δυστυχώς δεν διαθέτω το πρώτο volume...κι αυτό εν καιρό...) που σκιαγραφεί ένα μέρος της καριέρας του Murphy, η οποία βασίστηκε κυρίως στις ρίζες αλλά και στα παρακλάδια αυτού που αποκαλείται Dixie Jazz.
Στο cd περιέχεται μία από τις πιο ωραίες ορχηστρικές προσεγγίσεις του "Willie The Weeper", και κατά τη γνώμη μου όλα τα τραγούδια που ερμηνεύει ο ίδιος ο Murphy είναι και οι καλύτερες στιγμές του δίσκου, όπως το κλάσικ "After You Gone" (των Turner Layton και Henry Creamer) σε μία απ' τις πιο αγαπημένες μου εκτελέσεις (ασχέτως αν είμαι κολλημένος με την εκτέλεση του Freddie Taylor με τους Django & Grappelli), το "Wise Guys" ή το "Flamin' Mamie".
Για να πάρετε μία γέυση ποστάρω παρακάτω κάποια βιντεάκια, εκ των οποίων το τρίτο είναι και το κερασάκι στην τούρτα, καθώς εκτός των άλλων ο Murphy τραγούδησε και έπαιξε με την μπάντα του για τη γνωστή παιδική τηλεοπτική σειρά "Sesame Street "!

Καλή ακρόαση!
Radiodada

Turk Murphy & His Frisco Jazzband - When you're smiling 1974


After You've Gone - Turk Murphy's Jazz Band


Sesame Street - The Alligator King


About Turk Murphy 
Melvin Edward Alton “Turk” Murphy (born Palermo, California, December 16, 1915; died San Francisco, California, May 30, 1987) was renowned as a trombonist who played traditional and dixieland jazz in San Francisco.

Murphy served in the Navy during World War II, during which time he played and recorded when he could, with the likes of Lu Watters and Bunk Johnson. In 1952, he headed his own band, "Turk Murphy's Jazz Band," which included pianist Wally Rose, clarinetist Bob Helm, banjo player Dick Lammi, and tubaist Bob Short. They played at the Italian Village at Columbus and Lombard, in San Francisco’s North Beach. The band appeared on The Ed Sullivan Show twice, in 1959 and 1965. In 1979, horn man Bob Schulz began an eight-year stint with the band. Other notable band members over the years included trumpeters Don Kinch, Bob Short, and Leon Oakley; pianists Pete Clute and Ray Skjelbred; and singer Pat Yankee.

Murphy was the singer for the famous 1971 Sesame Street cartoon shorts, "The Alligator King" and "#9 Martian Beauty" animated and produced by his long time friend animator Bud Luckey. Murphy also arranged and performed on many of Bud Luckey's other Sesame Street animated Shorts. In addition to Luckey, Murphy was a long time friend of fellow trombonist and Disney animator Ward Kimball who created many memorable caricatures of Murphy and Charles Addams creator of The Addams Family.

Among other venues, Murphy's band played his nightclub "Earthquake McGoons," which opened in 1960 and moved three times, from 99 Broadway to 630 Clay in 1964, the Embarcadero in 1979 and Pier 39 in 1983, before closing in 1984.

In January 1987, Murphy played Carnegie Hall. He died on May 30, 1987.

Murphy ruled with Lu Watters and Bob Scobey the revivalism in the San Francisco area. His band recorded and released dozens of albums.