Joshua Payne Orchestra-Young Folks

Joshua Payne Orchestra-Walk on the Wild Side

Tzoum & Antonis Apergis (Live at Alavastron)

Dada is on vacation!

Have nice summer holidays!

Καλές διακοπές σε όλους μας! 

Kenny Burrell & Coleman Hawkins - Tres Palabras

Trombone Shorty - NPR Music Tiny Desk Concert

Giani Lincan Gipsy Ensemble - Odessa

Eddie Lang & Ruth Etting - Without That Man (From The Movie "A Regular Trouper")

Barbatuques - Baianá

Barbatuques - Baianá

Note From Dada!
Χαίρεται!
Ελπίζω να είστε και να περνάτε καλά.
Ποστάρω το αγαπημένο "Baiana" των Barbatuques, που είχα πολύ καιρό να ακούσω.
Μη με ρωτήσετε για ποιο λόγο. Το σημερινό ποστάρισμα είναι προϊόν εκείνων των ατελείωτων και ανεξήγητων περιηγήσεων (ψψψψ... τι επίπεδο...) στο διαδίκτυο.
Καλή ακρόαση.

Σας φιλώ στο μόντεμ!
Radiodada

Voodoo Chile-Jimi Hendrix/Gayageum ver. by Luna

Brushy One String - No Man Stop Me (Good Morning Mr.Sun)

Metro's Midnight Music | Various Artists - Rare Jazz Tracks From The Dutch Nos Radio Show 1970-75

Rating: 6/10

Sound Quality: Lossless
Format: Flac
Record Label: Sonorama
Year Released: 2006
Album Covers: Included
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The Louis Van Dyke Trio & Mark Murphy - Con Alma

The Louis Van Dyke Trio & Herb Geller - Sao Paulo

Joni Haastrup - Wake Up Your Mind

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Tummy Touch Records
Year Released: 2011
Album Covers: Included
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Note From Dada
Αρκετά "συγγενικό" αυτό το post με το προηγούμενο των Lijadu Sisters.
Αρχικά ο Joni Haastrup είναι συμπατριώτης με τις νιγηριανές δίδυμες Taiwo και Kehinde.
Επίσης και οι δύο τους τη δεκαετία του 70 ηχογραφούσαν υπό το label της Afrodisia και τέλος όπως άλλωστε μπορείτε να δείτε και στο εξαιρετικό βιντεάκι που ακολουθεί και οι τρεις τους μαζί και με άλλους νιγηριανούς μουσικούς (για τον Fela δεν χρειάζεται καν να αναφερθώ...) συνεργάστηκαν φυσικά με τον εξαιρετικό κύριο Ginger Baker.
Προσωπικά το όνομα του Haastrup "γράφτηκε" για πρώτη φορά και μάλιστα πολύ καλά στο μυαλό μου όταν πριν από λίγα χρόνια (2008) κόλλησα με το εκπληκτικό "Greetings" που βρίσκεται στην συλλογή της Soundway με τίτλο "Nigeria Disco Funk Special: The Sound Of The Underground Lagos Dancefloor 1974-1979" και το οποίο ποστάρω κι αυτό παρακάτω.

Σας φιλώ στο μόντεμ!
Radiodada

Ginger Baker Jams With Afro-Rock Artists


Joni Haastrup - Greetings

Karen Dalton - 1966

Rating: 7/10
Sound Quality: Lossless
Format: Flac
Record Label: Delmore Recording Society
Year Released: 2012
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Note From Dada
Ώτα μου καλησπέρα και καλή εβδομάδα.

Με αφορμή την πολύ πρόσφατη (Ιαν. 2012) κυκλοφορία του δίσκου της Karen Dalton με τίτλο "1966" -το οποίο στα δικά μου αυτιά "εσκασε" σαν δώρο από το μακρινό παρελθόν- ξεκινάω λοιπόν να ποστάρω την πλήρη δισκογραφία αυτής της πολύ αγαπημένης folk τραγουδίστριας.

Ίσως το πρώτο πράγμα που συνήθως αναφέρεται για τη φωνή της Dalton είναι ότι πρόκειται για την "folk εκδοχή" της Billie Holiday. Και για να είμαι ειλικρινής -όπως άλλωστε αρκετός κόσμος- έτσι κι εγώ συνήθως όταν ακούω κάτι για πρώτη φορά, αυτόματα "προσπαθώ" (συνειδητά/ασυνείδητα/υποσυνείδητα) να κολλήσω το νέο κομμάτι του παζλ, μαζί με ότι άλλο "παρόμοιο" έχει "εισέλθει" ως εκείνη τη στιγμή στα μουσικά μου δεδομένα. Το καλό τουλάχιστον είναι ότι μετά από αρκετές ακροάσεις αρχίζει κανείς να "καθαρίζει" τα αυτιά του απ' τα πρόσθετα παιχνίδια του μυαλού του και απλά ακούει αυτό που πραγματικά παρουσιάζεται μπροστά του.
Kάτι που κατά τη γνώμη συμβαίνει σε όλες τις μορφές έκφρασης (ζωγραφική, θέατρο κτλ). Έτσι λοιπόν δεν θα έλεγα ότι δεν υπάρχουν ερμηνείες της Dalton που σε παραπέμπουν κατευθείαν στην Lady Day, αλλά πλεόν μετά από κάμποσο καιρό που "ανακάλυψα" αυτήν την εξαιρετική μουσικό και ερμηνεύτρια αναγνωρίζω πεντακάθαρα την ιδιαίτερη/ξεχωριστή μουσική της παρουσία και τον μοναδικό τρόπο ερμηνείας της.

Η Dalton ηχογράφησε στην καριέρα της μόνο δύο studio album το It's Hard To Tell Who's Going To Love You The Best (1969) και το In My Own Time (1971). Κι ενώ  πρόκειται για εξαιρετικούς δίσκους, η αίσθηση που "προδίδουν" τα υπόλοιπα τρία album της (τα οποία είναι ηχογραφημένα απλά με κάποιο μπομπινόφωνο-κασσετόφωνο) είναι ότι το στουντιακό περιβάλλον δεν κατάφερε να αποτυπώσει/απελευθερώσει πλήρως αυτήν την ιδιαίτερη ερμηνεύτρια (ίσα-ίσα που σε μερικές περιπτώσεις νιώθω ότι την "παραμόρφωσε" κιόλας).
Σε αντίθεση με τις πιο "πρόχειρες" ηχογραφήσεις της (δύο album ηχογραφημένα στο σπίτι της και ένα στο "Attic" (ένα μικρό καφέ στο Boulder του Colorado) απ' τις οποίες μπορεί νομίζω κανείς να γευτεί στο ακέραιο τον "κόσμο" που μοιράζεται μαζί μας αυτό το πλάσμα.

Γενικότερα έχω μία ιδιαίτερη αδυναμία σ' εκείνες τις αυθόρμητες καταγραφές, που έκαναν κάποιοι μουσικοί στα σπίτια τους (βλ.Tamworth In Arden του Drake ή το πιο "πρόσφατο" The Creek Drank The Cradle του Iron & Wine) καθώς εκτός του ότι σε βάζουνε μέσα στον "κόσμο" τους με τον δικό τους ιδιαίτερο (μουσικό και όχι μόνο) τρόπο έχει κανείς ταυτόχρονα και την αίσθηση ότι σου ανοίγουν την πόρτα του σπίτιου τους. Μπορείς με ένα ιδιαίτερο τρόπο να δεις ποια βιβλία διαβάζουνε, πως περνάνε την ώρα τους, να εντοπίσεις τις μυρωδιές του σπιτιού τους, ποια είναι τα αγαπημένα τους χρώματα κτλ. Έτσι λοιπόν το "1966" είναι κατά τη γνώμη μου ένας τέτοιος δίσκος όπου η Karen Dalton πάρεα με τον σύντροφό της Richard Tucker και τον "αυτόπτη μάρτυρα" φίλο τους, Carl Baron (ο οποίος τους ηχογράφησε στο φορητό του μπομπινόφωνο) σε μεταφέρουν και σε βάζουν στο εξοχικό τους σπίτι στο Summerville του Colorado για να τους ακούσεις να τραγουδάνε παραδοσιακά folk κομμάτια  αλλά κυρίως να ερμηνεύουν και να διασκευάζουν κομμάτια πολύ καλών τους φίλων (Fred Neil, Tim Hardin) αλλά και Billie Holiday (God Bless The Child).

Πανέμορφη η εκτέλεση στο κομμάτι του Tim Hardin "Reason To Believe" (ίσως η καλύτερη εκτέλεση που έχω ακούσει προσωπικά γι' αυτό και άλλωστε το ποστάρω και σε μορφή video). Εξαιρετικές οι προσεγγίσεις στα παραδοσιακά Cotton Eye Joe, Green Rocky Road τα οποία είναι απ΄τα βασικά κομμάτια του ρεπετρορίου της Dalton, ενώ το επίσης παροδοσιακό "Katie Cruel" (που υπάρχει στα περισσότερα album της) βρίσκει εδώ την πιο όμορφη του εκτέλεση.
Όσο αφορά τα κομμάτια του Fred Neil, μπορεί να μη γίνεται να ξεπεραστεί εκείνη η ασύλληπτη ερμηνεία από τον ίδιο τον δημιουργό του "Little Bit Of Rain", αλλά το "Other Side Of This Life" (το οποίο φυσικά έχουν πει και οι Jefferson Airplane) διασκευάζεται επίσης πολύ ωραία.

Κλείνωντας θα ήθελα να παραθέσω μία φράση από τις σημειώσεις του δίσκου (οι οποίες ανήκουν στον Ben Edmonds) και κατά τη γνώμη μου είναι από εκείνες τις ελάχιστες περιπτώσεις που αρκεί μόνο μία φράση για να αποδώσει πλήρως την (παρ)ουσία ενός μουσικού.
Ο Edmonds αναφέρει λοιπόν: "Some artists where underground; Karen Dalton was just sort of elsewhere"

Καλή ακρόαση!
Radiodada


Karen Dalton - Reason To Believe

Karen Dalton - Katie Cruel


Karen Dalton - Other Side Of This Life

Wes Montgomery With Wynton Kelly Trio - Smokin' At The Half Note

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label:Verve
Year Released: 1965
Album Covers: Included
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Wes Montgomery & The Wynton Kelly Trio - Four On Six

Σύνθεση Μουσικών:
Wes Montgomery : Κιθάρα
Wynton Kelly: Πιάνο
Paul Chambers: Κοντραμπάσο
Jimmy Cobb: Τύμπανα

About Wes Montgomery

John Leslie "Wes" Montgomery (6 March 1925 - 15 June 1968) was an American jazz guitarist. He is generally considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino and Pat Metheny.

Montgomery was born in Indianapolis, Indiana. He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning guitar at the age of 19, listening to and learning recordings of his idol, the guitarist Charlie Christian. He was known for his ability to play Christian solos note for note and was hired by Lionel Hampton for this ability.

Montgomery is often considered the greatest of modern jazz guitarists. Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes arguably put guitar on the map as a bebop or post-bop instrument. Although Johnny Smith was the guitarist in the original New York Bebop scene, and both Tal Farlow and Jimmy Raney made significant contributions in the 1950's to bebop guitar, each of these men curtailed their own output in the 1960s, creating a vacuum that Montgomery naturally filled with virtuousic playing. While many Jazz players are regarded as virtuosos, Montgomery was unique in his wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that many try to emulate.

Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderly later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.

John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965-1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.

Wes Montgomery died of a heartattack on June 15, 1968 in Indianapolis, Indiana, USA.

About Wynton Kelly
Wynton Kelly (December 2, 1931 – April 12, 1971) was a Jamaican-born jazz pianist, who spent his career in the United States. He is perhaps best known for working with trumpeter Miles Davis from 1959-1962.

Son of Jamaican immigrants, Kelly was born in Jamaica, and started his professional career as a teenager, initially as a member of R&B groups. After working with Lee Abrams, Cecil Payne, Dinah Washington and Dizzy Gillespie, he was a member of Miles Davis' Quintet from 1959 to 1963. He appears on Davis' seminal 1959 album Kind of Blue, replacing Bill Evans on the track "Freddie Freeloader". He likewise appears on a single track from John Coltrane's Giant Steps, replacing Tommy Flanagan on "Naima".

He recorded 14 titles for Blue Note in a trio (1951), and worked with Washington, Gillespie, and Lester Young during 1951-1952. After serving in the military, he worked with Washington (1955–1957), Charles Mingus (1956–1957), and the Dizzy Gillespie Big Band (1957), but he would be most famous for his stint with Miles Davis (1959–1963), recording such albums with him as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio.

Kelly recorded as a leader for Blue Note, Riverside Records, Vee-Jay, Verve, and Milestone. Kelly had a daughter, Tracy, in 1963, with partner Anne. The track, "Little Tracy", from the LP Comin' in the Back Door, is named after Kelly's daughter. Tracy Matisak is a now a Philadelphia television personality.

Kelly's second cousin, bassist Marcus Miller, also performed with Miles Davis in the 1980s and 1990s.

Kelly died in Toronto, Canada, from an epileptic seizure in April 1971.

Respect / Livin' It Up - Jimmy Smith

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Verve
Year Released: 1967 (Respect), 1968 (Livin' It Up), Reissue (2010)
Album Covers: Included
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Note From Dada!
Γεια σας ώτα μου και ευτιχισμένος ο καινούργιος θρόνος.
Μία ακόμα "σύμπτυξη" δύο album σε ένα cdακι, αλλά αυτή τη φορά από τη Verve. Δύο δίσκοι του Jimmy Smith από τα τέλη της δεκαετίας των sixties που αν και κυκλοφόρησαν με μόλις έναν χρόνο διαφορά μεταξύ τους, είναι εκ διαμέτρου αντίθετοι και από αισθητικής άποψης αλλά και περιεχομένου.
Και τι εννοώ...
Ας κάνουμε λοιπόν μία εικασία.
Ας υποθέσουμε ότι κάποιος (που δεν γνωρίζει τα εν λόγω album) πηγαίνει σε ένα κατάστημα δίσκων.
Εκεί λοιπόν που ψάχνει στο ράφι με κυκλοφορίες του Smith συναντάει πρώτα το "Livin' It Up" με τον "πρωταγωνιστή" να βρίσκεται έξω από ένα πολυτελές ξενοδοχείο, να λέει "εβίβα" με μία απαστράπτουσα οδοντοστοιχία κρατώντας ένα ποτήρι σαμπάνια, δίπλα από μία μερσέντα και έχοντας για παρέα του μία μαύρη καλλονή η οποία τον συντροφευέι στην σαμπανοποσία...
Ο φανταστικός λοιπόν αγοραστής βγάζει εκτός ραφιού αυτό το δισκάκι και το αφήνει στην γωνία στα υπ' όψιν προς αγορά. Συνεχίζει λοιπόν το ψάξιμο και το επόμενο πράγμα που βλέπει μπροστά του είναι τον διάσημο κιμπορντίστα ντυμένο αλά Ralph Macio στο "Καράτε Κιντ" μπροστά από ένα Hammond να κάνει επίδειξη δύναμης και τεχνικής τρέποντας σε φυγή όλα τα τσογλάνια του "Cobra Kai" (εεεε....μην εξηγούμε και τα αυτονόητα...).
Τι κάνει λοιπόν? Καταρχήν αναφωνεί "Respect!" για ένα απ' τα καλύτερα (χιουμοριστικά) album της jazz δισκογραφίας, παρατάει φυσικά το κακαίσθητο "Livin' It Up" και τέλος κατευθύνεται προς το ταμείο (προαιρετικό).
Αν λοιπόν "η θεωρία των εξωφύλλων" έχει μία υπόσταση -δηλαδή "What You See Is What You Get"- σ' αυτήν την επανέκδοση αποδεικνύεται περίτρανα. Το "Respect" είναι από εκείνα τα πολύ καλά δισκάκια του Jimmy Smith και γενικότερα της jazz δισκογραφίας οπου η jazz αναμείχθηκε με εξαιρετικό τρόπο με την funk και soul μουσική και απέκτησε αρκετά groovy στοιχεία.
Εκτός απ' την μοναδική σύνθεση του Smith στο δίσκο το "T-Bone Steak", τα υπόλοιπα κομμάτια είναι διασκευές που προέρχονται κυρίως από τον χώρο της soul & funk μουσικής όπως το ομώνυμο "Respect" και το "Get Out My Life Woman" του Allen Toussaint ενώ το album ανοίγει με την προσέγγιση του Smith πάνω στο κλάσικ του Josef Zawinul "Mercy, Mercy, Mercy". To κλείσιμο όμως αυτής της επανέκδοσης του "Respect" είναι δυσανάλογο με το ξεκίνημα της καθώς η εταιρεία "κότσαρε" ως Bonus Track το άκρως απογοητευτικό "Mickey Mouse" (no comment!)  από ένα σινγκλάκι του καλλιτέχνη...
Τέλος το album συμπληρώνεται από το "Funky Broadway" το οποίο και "οπτικοποιήσα"...για να πάρετε μία γεύση από τον δίσκο.
Όσο αφορά τώρα το "Livin' It Up" και για να μην βάλω όλα τα κομμάτια του δίσκου στο ίδιο τσουβάλι, θα έλεγα ότι κομμάτια όπως το "Burning Spear", το "Big Boss Man" και το "Refractions" του Oliver Nelson ανήκουν στις θετικές στιγμές του δίσκου.

Καλή ακρόαση.
Σας φιλώ στο μόντεμ!

Radiodada

Jimmy Smith - Funky Broadway

Σύνθεση Μουσικών (Respect):
Jimmy Smith: Hammond
Eric Gale/Thornel Schwartz: Κιθάρα

Ron Carter/Bob Bushnell: Μπάσο

Grady Tate/Bernard Purdie: Τύμπανα

Σύνθεση Μουσικών (Livin' It Up):
Jimmy Smith: Hammond
Conte Cantoli: Τρομπέτα

Ernie Tack/Billy Byers: Τρομπόνι

Plas Johnson: Τενόρο Σαξόφωνο

Tom Scott: Σαξόφωνο

Howard Roberts: Κιθάρα

Ray Brown: Μπάσο

Carol Kaye: Fender Bass

Larry Bunker: Κρουστά

About Jimmy Smith

Jimmy Smith (December 8, 1925 [birth year is disputed and is often given as 1928] – February 8, 2005) was a jazz musician whose performances on the Hammond B-3 electric organ helped to popularize this instrument. In 2005, Jimmy Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honors that the United States bestows upon jazz musicians.Originally a pianist, Smith switched to organ in 1953 after hearing Wild Bill Davis. He purchased his first Hammond B-3 organ, rented a warehouse to practice in and emerged after little more than a year with an exciting new sound which was to completely revolutionize the way in which the instrument could be played. On hearing him playing in a Philadelphia club, Blue Note's Alfred Lion immediately signed him to the label and with his second album, also known as The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and as a leader, recorded around 40 sessions for Blue Note in just 8 years beginning in 1956. His most notable albums from this period include The Sermon!, House Party, Home Cookin' , Midnight Special, Back at the Chicken Shack and Prayer Meetin' .

Smith then signed to Verve Records label in 1962. His first album Bashin', sold well and for the first time, set Smith with a big band led by Oliver Nelson. Further Big band collaborations followed, most successfully with Lalo Schifrin for The Cat and guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo and Further Adventures Of Jimmy and Wes. Other notable albums from this period include Blue Bash and Organ Grinder's Swing with Kenny Burrell, The Boss with George Benson, Who's Afraid of Virginia Woolf?, Got My Mojo Workin, and the funky Root Down.During the 50s and 60s, Smith recorded with some of the great jazz musicians of the day such as Kenny Burrell, George Benson, Grant Green, Stanley Turrentine, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Grady Tate and Donald Bailey. In the 1970s, Smith opened his own supperclub in L.A. and played there regularly.

Smith had a career revival in the 1980s and 90s, again recording for Blue Note and Verve, and for Milestone and Elektra. Smith also recorded with other artists including Quincy Jones/Frank Sinatra, Michael Jackson, Dee Dee Bridgewater and Joey DeFrancesco. His last major album Dot Com Blues (Blue Thumb, 2000), featured many special guests such as Dr. John, B.B.King and Etta James.

Soul Trombone / Cabin In The Sky - Curtis Fuller

Rating: 5/10
Sound Quality: Lossless
Format: Flac
Record Label: Impulse
Year Released: 1961 (Soul Trombone), 1962 (Cabin In The Sky)
Album Covers: Included
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Note From Dada!
Δεν έχω πάρα πολλά δισκάκια στην δισκοθήκη μου από αυτή την σειρά "2 on 1" της Impulse αλλά αν εξαιρέσω τις επανεκδόσεις των δίσκων του Hamilton (βλ. προηγούμενο post) και κανένα δυο-τρία ακόμα δισκάκια, έχω μία αίσθηση ότι σ' αυτές τις επανκδόσεις (και πραγματικά θα προτιμούσα να κάνω λάθος...) το ένα δισκάκι είναι από καλό εώς και εξαιρετικό και το άλλο από μέτριο ως κακό.

Κι αφού λοιπόν δεν έχω πλήρη "εικόνα" των εκδόσεων αυτών, ας περιορίσω αυτή μου την "κριτική" μόνο για αυτό Cd του Curtis Fuller αποτελούμενο από το "Soul Trombone" και το "Cabin In The Sky".
Κι ενώ λοιπόν το "Soul Trombone" είναι κατά τη γνώμη μου απ' τα καλά δισκάκια του Fuller το "Cabin In The Sky" (το οποίο αγνοούσα και το άκουσα πρώτη φορά απ' αυτήν την επανέκδοση) είναι τουλάχιστον απογοητευτικό (κι από την άποψη των συνθέσεων αλλά κυρίως από την άποψη της ενορχήστρωσης)...αλλά και πάλι όπως άλλωστε συμβαίνει σ' αυτές τις περιπτώσεις μία "κολοκυθόπιτα" θα έρθει να τακτοποιήσει τις διαφορές των ουρανίσκων....
Για να πάρετε λοιπόν μία γεύση από το πολύ καλό "Soul Trombone" -που άλλωστε είναι και η "ουσία" αυτής της ανάρτησης- σας ποστάρω σε video μορφή το κομμάτι που ανοίγει τον δίσκο, το εξαιρετικό "The Clan".
Σας φιλώ στο μόντεμ!

Radiodada

Curtis Fuller - The Clan

Σύνθεση Μουσικών (Soul Trombone):
Curtis Fuller: Τρομπόνι
Freddie Hubbard: Τρομπέτα
Jimmy Heath: Τενόρο Σαξόφωνο
Cedar Walton: Πιάνο
Jumie Merritt: Κοντραμπάσο
Jimmy Cobb/Graville T.Hogan: Τύμπανα

Σύνθεση Μουσικών (Cabin In The Sky):
Curtis Fuller: Τρομπόνι
Eddie Costa: Βιμπράφωνο, Κρουστά
Hank Jones: Πιάνο
Milt Hinton, Art Davis: Κοντραμπάσο
Osie Johnson: Τύμπανα

Διεύθυνση Ορχήστρας: Manny Albam

About Curtis Fuller

Fuller's parents were Jamaican and died when he was young; he was raised in an orphanage as a result. While in Detroit he was a schoolfriend of Paul Chambers and Donald Byrd, and also knew Tommy Flanagan, Thad Jones and Milt Jackson.

After army service between 1953 and 1955 (when he played in a band with Chambers and brothers Cannonball and Nat Adderley), Fuller joined the quintet of Yusef Lateef, another Detroit musician. In 1957 the quintet moved to New York, and Fuller recorded his first sessions as a leader for Prestige Records.

Alfred Lion of Blue Note Records first heard him playing with Miles Davis in the late fifties, and featured him as a sideman on record dates led by Sonny Clark and John Coltrane; Fuller's work on the latter's Blue Train album is probably his best known recorded performance. Fuller led four dates for Blue Note, though one of these, an album with Slide Hampton, was not issued for many years. Other sideman appearances over the next decade included work on albums under the leadership of Bud Powell, Jimmy Smith, Wayne Shorter, Lee Morgan and Joe Henderson (a former room mate at Wayne State University in 1956). Fuller is particularly proud of being the only trombonist to have recorded with Coltrane, Powell and Smith, all in August or September 1957.

He was also the first trombonist to be a member of the Art Farmer-Benny Golson Jazztet, later becoming the sixth man in Art Blakey's Jazz Messengers in 1961, staying with Blakey until 1965. In the early 1960s he recorded two albums as leader for Impulse! Records, having also recorded for Savoy Records and Epic after his obligations with Blue Note had ended.

In the late sixties he was part of Dizzy Gillespie's band, and he went on to tour with Count Basie and to reunite with Blakey and Golson. He continues to perform and record.

On January 13, 2010, Curtis' wife, Catherine Rose Driscoll Fuller died.

El Chico / The Further Adventures Of El Chico - Chico Hamilton

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Impulse
Year Released: 1966
Album Covers: Included
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Note From Dada!
Όταν μιλάμε για jazz δισκογραφικές εταιρείες οι πρώτες που μου έρχονται εμένα στο νου είναι η Blue Note, η Prestige, η Riverside, η Verve και φυσικά η Impulse*. Και ενώ οι τέσσερεις πρώτες (λίγο ή πολύ) έχουν εκδώσει ένα...ικανοποιητικό μέρος των αναλογικών τους ηχογραφήσεων σε ψηφιακή μορφή (μιλάω για Cd και όχι mp3 downloading) η Impulse δεν έκανε το ίδιο, με αποτέλεσμα αν ήθελε κάποιος να ακούσει για παράδειγμα το δισκακι  του Chico Hamilton "El Chico" -καλή ώρα- ή θα έπρεπε να δώσει πολύ περισσότερα χρήματα από ένα Cdάκι για το αγοράσει (μεταχειρισμένο φυσικά...) σε βινύλιο (αν βέβαια διέθετε πικάπ) ή να το ψάξει στο  internet μπας και κανένας χριστιανός-μωαμεθανός ή λάτρης του κουμφούκιου τον είχε φωτίσει ο μεγαλοδύναμός του να το ρίπαρει και στη συνέχεια να το μοιράσει με άλλους αλλόθρησκους διαδικτυακά.
Όπως και να 'χει πάντως η Impulse είτε για ανταγωνιστικούς είτε για άλλους λόγους "αποφάσισε" τελικά να εκδόσει σε Cd κάποιους δίσκους της, σε μία σειρά υπό τον τίτλο "2 on 1" όπου δύο δίσκοι εμπεριέχονται σε ένα Cd.
Από αυτή λοιπόν τη σειρά σας ποστάρω μία απ' τις καλύτερες επανεκδόσεις που περιέχει τα "El Chico" και "The Further Adventures Of El Chico" του Chico Hamilton.
Και οι δύο δίσκοι κυκλοφόρησαν την ίδια χρονιά (1966) και πάνω-κάτω η σύνθεση των μουσικών είναι όμοια με την (αισθητή) απουσία όμως (και στα δύο αυτά album) του ως τότε "συνήθη ύποπτου" συνεργάτη του Hamilton, τον Charles Lloyd.

Εεεε...και επειδή έκανα την αρχή με τα videakια σας ποστάρω λοιπόν δύο ακόμα απ' τα χεράκια μου. Το "Strange" από το  "El Chico" και το εξαιρετικό (άσχετα αν είναι για πιο καλοκαιρινές ακροάσεις) "Got My Mojo Working".
Καλή Ακρόαση!

Radiodada

ΥΓ. Προφανώς μέσα στις σημαντικότερες jazz δισκογραφικές θα έπρεπε να αναφέρω π.χ.  την Columbia, την Atlantic και άλλες πολλές...αλλά για να μην παρεξηγηθώ αυτό το "μου έρχονται στο νου πρώτες" έχει να κάνει φυσικά με τα γούστα μου...

 

Got My Mojo Working - Chico Hamilton

Strange - Chico Hamilton

Σύνθεση Μουσικών (El Chico):

Chico Hamilton: Τύμπανα
Jimmy Cheatham: Τρομπόνι
Sadao Watanabe: Άλτο Σαξόφωνο, Φλάουτο
Gabor Szabo: Κιθάρα
Al Stinson: Κοντραμπάσο
Victor Pantoja/Willie Bobo: Κρουστά

Σύνθεση Μουσικών (The Further Adventures Of El Chico):
Chico Hamilton: Τύμπανα
Clark Terry: Τρομπέτα
Jimmy Cheatham: Τρομπόνι
Charlie Mariano: Άλτο Σαξόφωνο
Jerome Richardson: Φλάουτο. Άλτο Φλάουτο
Danny Bank: Πίκολο
Gabor Szabo: Κιθάρα
Richard Davis/Ron Carter: Κοντραμπάσο
Victor Pantoja/Willie Bobo: Κρουστά

About Chico Hamilton

Hamilton had a fast track musical education in a band with his schoolmates Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim & Slam, T-Bone Walker, Lester Young, Count Basie, Duke Ellington, Charlie Barnett, Billy Eckstine, Nat King Cole, Sammy Davis Jr., Billie Holiday, Gerry Mulligan and six years with Lena Horne established this young West Coast prodigy as a jazz drummer on the rise, before striking out on his own as a band leader in 1955.

Hamilton appeared in the March Milastaire number in the film You'll Never Get Rich (1941) as part of the backing group supporting Fred Astaire, and performed on the soundtrack of the Bing Crosby/Bob Hope film Road to Bali.

Hamilton's impact on jazz includes the introduction of two unique and distinct sounds: first in 1955 with his Original Quintet which combined the sounds of his drums, the bass of Carson Smith, the guitar of Jim Hall, the cello of Fred Katz, and the flute of Buddy Collette; and the second in 1962 with his own drums, the bass of Albert Stinson, the guitar of Gabor Szabo, the tenor sax of Charles Lloyd, and the trombone of George Bohanon.

He recorded his first LP as leader in 1955 with George Duvivier and Howard Roberts for Pacific Jazz; in 1955 he formed an unusual quintet in L.A. featuring cello, flute, guitar, bass and drums. The original personnel included Buddy Collette, Jim Hall, Fred Katz and Carson Smith; Hamilton continued to tour using different personnel, 1957 to 1960; the group including Paul Horne and John Pisano was featured in the film Sweet Smell of Success in 1957; the group including Nate Gershman and Eric Dolphy appeared in the film Jazz on a Summer's Day in 1960; Dolphy marked his first recordings with Hamilton on With Strings Attached, Gongs East, The Three Faces of Chico, and That Hamilton Man.

Hamilton revamped the group in 1961 with Charles Lloyd, Gabor Szabo, George Bohanon and Albert Stinson; the group recorded for Columbia, Reprise and Impulse and also recorded the soundtrack for the industrial film Litho in 1962, the first American film to be shown behind the Iron Curtain. Hamilton formed a commercial and film production company in 1965; scored the feature films Repulsion, Mr. Rico, By Design, Liebe Auf Den Ersten Blick, Die Sonnengottin, and A Practical Man; scored for television Portrait of Willie Mays and the popular children's series Gerald McBoing Boing; and scored hundreds of commercials for TV and radio. He formed a new group with Larry Coryell, Richard Davis and Arnie Lawrence in '66 and recorded The Dealer for Impulse. Performed at Montreux and North Sea Jazz Festivals in 1972 and 1973. Formed a new "Players" group in 1975 with Arthur Blythe, Steve Turre, Barry Finnerty and Abdullah; also, wrote and performed the musical score for the movie, Coonskin, in 1975; toured with "Players" using different personnel in 1976-1980; recorded for Blue Note, Mercury Records, Nautilus and Elektra. Originating faculty member in 1987 of New School University Jazz & Contemporary Music Program.

He formed the new group "Euphoria" in 1987 with Eric Person, Cary DeNigris and Reggie Washington; recorded Euphoria in 1987; toured Europe with Euphoria '87, '88, '90. Performed at Verona, Bolzano, Vienne, Nice, North Sea and Montreux Jazz Festivals in '89 with regrouped original quintet with Buddy Collette, Fred Katz, John Pisano, Carson Smith; recorded Reunion for Soul Note. For Soul Note records Arroyo with Euphoria group, Trio! w. Eric Person, Cary DeNigris, Eric Dolphy tribute My Panamanian Friend with Euphoria group, and solo drum session Dancing to a Different Drummer. Toured Europe with Euphoria in 1994. Hamilton was the subject of a documentary film by director Julian Benedikt, Dancing to a Different Drummer.

Hamilton released Foreststorn in 2001 featuring Euphoria with Cary DeNigris on guitar, Paul Ramsey on bass, and a new two horn front line featuring Eric Lawrence on alto and soprano saxes and Evan Schwam on tenor sax, as well as special guest appearances from former band members Arthur Blythe, Steve Turre and his wife Akua Dixon, Eric Person, former Spin Doctors guitarist Eric Schenkman (a student of Chico's), Blues Traveler front man John Popper (also a student of Chico's), and Charlie Watts of The Rolling Stones. In August 2001 he performed in front of 2300 people at Lincoln Center "My Funny Valentine: A Tribute to Chico Hamilton" with Euphoria plus special guest appearances from Joe Beck, Arthur Blythe, Larry Coryell, Akua Dixon, Rodney Jones and Eric Person. In fall 2002 he released Thoughts of… with Euphoria, with special guest appearances from guitarists and former band members Joe Beck, Larry Coryell and Rodney Jones.

In 1997, Hamilton received the New School University Jazz & Contemporary Music Programs Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz." In 2002, he was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, Hamilton was awarded a NEA Jazz Master Fellowship, presented to him by Roy Haynes. In December 2006, Congress confirmed the President's nomination of Chico Hamilton to the Presidents Council on the Arts. And in 2007, Hamilton received a Living Legacy Jazz Award as part of The Kennedy Center Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School.

Hamilton has a resume that includes scores for film, original compositions, commercial jingles, 50+ albums as a leader, and countless international tours. In 2006, Chico released four CDs on Joyous Shout! in celebration of his 85th birthday: Juniflip featuring guest appearances from Love front-man Arthur Lee, vocalist (and successful actor) Bill Henderson, and former Hamilton band members trombonist George Bohanon and bass trombonist Jimmy Cheatham; Believe with special guest appearances from vocalist and R & B diva Fontella Bass and trombonist George Bohanon; 6th Avenue Romp featuring special guest appearances from guitarist Shuggie Otis, trumpeter Jon Faddis, trombonist George Bohanon, vocalist Brenna Bavis and percussionist Jaimoe of the Allman Brothers Band; and Heritage with special guest appearances from vocalist Marya Lawrence and trombonist George Bohanon. In September 2007, Chico released Hamiltonia sampling his original compositions from the four albums released in 2006. Hamiltonia confirms Hamilton's status as one of the most important living jazz artists and composers.

Over the years, Hamilton has had a series of dance successes, including his signature song "Conquistadors" from his '60s Impulse album El Chico, and the Brazilian influenced song "Strut" from Hamilton's 1980 Elektra album, Nomad, which became so successful on the Northern Soul scene in the U.K. that it had its own dance. In 2002 a track titled "For Mods Only" from Hamilton's 1968 Impulse album The Dealer, was included on the Thievery Corporation's Sounds from the Verve Hi-Fi. In fall 2006, Rong Music released the 12" vinyl Kerry's Caravan from Mudd & Chico Hamilton, with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. And the recent Impulsive! Remix Project features Mark De Clive Lowe's take on Chico's '60s track "El Toro." Released December of 2007 from SoulFeast (Joaquin 'Joe' Claussell & Brian Michel Bacchus) on 12" limited edition vinyl is their recasting of Chico's classic track "Mysterious Maiden," and coming in Spring 2008 from SoulFeast is a CD & double vinyl 12" EP Chico Hamilton Presents: Alternative Dimensions of El Chico.

Stitt Meets Brother Jack - Sonny Stitt & Jack McDuff

Rating: 4/10
Sound Quality: Lossless
Format: Flac
Record Label: Prestige
Year Released: 1962
Album Covers: Included
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Σύνθεση Μουσικών:
Sonny Stitt: Τενόρο Σαξόφωνο
Jack McDuff: Όργανο
Eddie Diehl: Κιθάρα
Arthur Taylor: Τύμπανα
Ray Barretto: Κόνγκα

Sonny Stitt & Jack McDuff - Ringin' In

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.

About Brother Jack McDuff

"Brother" Jack McDuff (September 17, 1926-January 23, 2001) was a jazz organist and organ trio bandleader who was most prominent during the hard bop and soul jazz era of the 1960s.
Born Eugene McDuffy in Champaign, Illinois, McDuff began playing bass, appearing in Joe Farrell's group. Encouraged by Willis Jackson in whose band he also played bass in the late 50s, McDuff moved to the organ and began to attract the attention of Prestige Records while still with Jackson's group. McDuff soon became a bandleader, leading groups featuring a young George Benson, Red Holloway on saxophone and Joe Dukes on drums.
McDuff recorded many classic albums on Prestige including his debut solo Brother Jack in 1960, The Honeydripper (1961), with tenor saxophonist Jimmy Forrest and guitarist Grant Green, and Brother Jack Meets The Boss (1962), featuring Gene Ammons, and Screamin’ (1962).
After his tenure at Prestige, McDuff joined the Atlantic Records label for a brief period and then in the 70s recorded for Blue Note. To Seek a New Home (1970) was recorded in England with a line-up featuring blues shouter Jimmy Witherspoon and some of Britain's top jazz musicians of the day, including Terry Smith on guitar and Dick Morrissey on tenor sax.
The decreasing interest in jazz and blues patent during the late 70s and 1980s meant that many jazz musicians went through a lean time and it wasn't until the late 1980s, with The Re-Entry, recorded for the Muse label in 1988, that McDuff once again began a successful period of recordings, initially for Muse, then on the Concord Jazz label from 1991. George Benson appeared on his mentor’s 1992 Colour Me Blue album.
Despite health problems, McDuff continued working and recording throughout the 1980s and 1990s, and toured Japan with Atsuko Hashimoto in 2000. "Captain" Jack McDuff, as he later became known, died of heart failure at the age of 74 in Minneapolis, Minnesota.

Soul - Coleman Hawkins

Rating: 5/10
Sound Quality: Lossless
Format: Flac
Record Label: Prestige
Year Released: 1958
Album Covers: Included
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Note From Dada! 
Το δεύτερο δισκάκι του Hawk που υποσχέθηκα προέρχεται από το 1958. Ένα χρόνο μετά το "The Hawk Flies High" (του προηγούμενου post) ο Hawkins "μετακoμίζει" από την Riverside στην Prestige και εκεί συναντάει τον Kenny Burrell με τον οποίον θα βρεθούν στο μέλλον για να ηχογραφήσουν είτε δισκογραφικές δουλειές του μεγάλου κιθαρίστα είτε συμμετέχοντας και οι δυο τους σε album τρίτων.
Το "Soul" είναι ένας από εκείνους του δίσκους που "αποδεικνύουν" ότι τα μονοπάτια της jazz και του blues δεν ήταν ποτέ παράλληλα αλλά αντιθέτως πολλάκις διασταυρώθηκαν με εξαιρετικά αποτελέσματα. Ιδιαίτερα στο "Soul Blues" που ανοίγει άλλωστε και το δίσκο, Hawkins, Burrell και Bryant "μαρτυράνε τις blues επιρροές τους" ενώ στο εξαιρετικό "Sunday Mornin'" (σύνθεση του Burrell) είναι αναγνωρίσιμα και τα gospel στοιχεία.

Προσπάθησα να βρω στο διαδίκτυο κομμάτια από τον δίσκο αυτό για να πάρετε μία γέυση, ελπίζοντας ότι κάποιος θα είχε ποστάρει κάτι...αλλά τζίφος! Το μόνο θέμα που κατάφερα να βρω σε youtube μορφή ήταν η διασκευή στο "παραδοσιακό" "Greensleeves" η οποία πραγματικά δεν με πολυτρελαίνει ως εκτέλεση... (για να είμαι ειλικρινής παίζει να είναι και το χειρότερο κομμάτι του album...αλλά περί ορέξεως βέβαια...τα γνωστά...)

Οπότε για μία ακόμα φορά η γνωστή λαϊκή ρήση "ποτέ μη λες ποτέ" εμφανίστηκε δυναμικά στη ζωή μου, κι ενώ είχα πει ότι με το youtube δεν μπαίνω στη διαδικασία να ασχοληθώ (για πάρα πολλούς λόγους που δεν αναφέρω για να μην τρώμε την ώρα μας) σήμερα ξεκίνησα την καριέρα μου ως άλλος ένας οικιακός σκηνοθέτης! Άντε Ντάντα και στις Κάννες. :)
Εντάξει επιοίκεια ώτα μου, επιοίκεια... πρώτη απόπειρα άλλωστε...

Για την ακρίβεια μην ασχοληθείτε καθόλου με το βιντεάκι αλλά με το καλύτερο κατά τη γνώμη μου κομμάτι από αυτό το album του "γερακιού" το εξαιρετικό "I Hadn't Anyone Till You" το οποίο ήτο και η αφορμή για αυτό το πρώτο video/upload... που ελπίζω να άξιζε τον κόπο...

Και σάλα με ηχεία!

Radiodada

I Hadn't Anyone Till You - Coleman Hawkins

Σύνθεση Μουσικών:
Coleman Hawkins: Τενόρο Σαξόφωνο
Kenny Burrell: Κιθάρα
Ray Bryant: Πιάνο
Wendell Marshall: Κοντραμπάσο
Osie Johnson: Τύμπανα

About Coleman Hawkins

Coleman Randolph Hawkins (November 21, 1904 - May 19, 1969), nicknamed "Hawk" and sometimes "Bean", was a prominent jazz tenor saxophonist.

He is commonly regarded as the first important and influential jazz musician to use the instrument: Joachim E. Berendt wrote, "there were some tenor players before him, but the instrument was not an acknowledged jazz horn".

While Hawkins is most strongly associated with the swing music and big band era, he began playing professionally in the early 1920s and was important in the development of bebop in the 1940s. He continued to be influenced by the avant-garde jazz of the 1950s and '60s.

Lester Young, who was called "Pres", 1959 interview with Jazz Review said "As far as I'm concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I'm the second one."

Miles Davis once said: "When I heard Hawk I learned to play ballads."

Renaud Garcia Fons - Live In Berlin 2010 (Video)

Note From Dada!

Έχω ξαναποστάρει στο παρελθόν κάποια videos αλλά και την καλύτερη (κατά την γνώμη μου) δισκογραφική δουλειά του Renaud Garcia Fons, το live στο Schloss Elmau υπό τον τίτλο "Arcoluz" (το οποίο υπάρχει φυσικά ποστάρισμένο στο blog και το βρίσκετε εδώ).
Εκ τοτε αυτός ο μέγιστος γάλλος κοντραμπασίστας - που η σκούφια του κρατάει από Καταλωνία μεριά - δεν κατάφερε με τους έπομενους δίσκους του (La Linea Del Sur -2009- και Méditerranées - 2010) να ξεπεράσει εκείνο το εκπληκτικό του album, που παρέα με τους Kiko Ruiz στην κιθάρα και τον Negrito Trasante στα τύμπανα και στα κρουστά κάνανε πράγματα και θαύματα. Η ενορχήστρωση (κυρίως) αλλά και οι συνθέσεις στους εν λόγω δίσκους "ρέπουν" σε ένα (τολμώ να πω!) "τουριστικό world-ethnic" ύφος (πράγμα όμως που επ ουδενί δεν μειώνει την παικτική δεινότητα του Fons) και που κατά τη γνώμη  δεν συγκρίνονται με εκείνες τις εξαιρετικές συνθέσεις του Arcoluz.
Αφορμή για όλα αυτά στάθηκε το παρακάτω βιντεάκι που μου θύμισε γιατι γουστάρω πάρα πολύ αυτόν τον τύπο. Εδώ λοιπόν ο Fons κάνει το άνθρωπο ορχήστρα και παίζει πάνω σε πράγματα που ηχογραφεί επί τόπου απογειώνοντας αυτό το ιστορικά "δυσκίνητο" από σολιστικής άποψης μουσικό όργανο, αλλά κρατώντας ταυτόχρονα τη μελωδία σε πρώτο πλάνο. Απλά εξαιρετικός. 'Njoy!

Σας φιλώ στο μόντεμ!

Radiodada

ΥΓ. Το εν λογω βιντεάκι προέρχεται από μία διεθνής συνεύρεση κοντραμπασιστών η οποία διεξείχθει το 2010 στο Βερολίνο.

The In Crowd - The Ramsey Lewis Trio

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Original (Argo), Reissue (Verve)
Year Released: Original (1965), Reissue (2007)
Album Covers: Included
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Note From Dada!

Ώτα μου καλημέρα και καλή εβδομάδα

Σας ποστάρω ένα "κλάσικ" δισκάκι - ίσως το γνωστότερο ηχογραφημένο live session των Ramsey Lewis Trio. Album ηχογραφημένο το 1965 (για λογαριασμό της Argo) στο Club Bohemian Caverns στο οποίο άλλωστε έχουν (ξανα)ηχογραφήσει ένα χρόνο νωρίτερα (1964) τον δίσκο τους με τίτλο "Ramsey Lewis Trio At The Bohemian Caverns". Ιδιαίτερα εδώ (αλλά και στα υπόλοιπα live τους  album) το κοινό παίζει καθοριστικό ρόλο στο feeling των κομματιών . Όσο αφορά τις μουσικές επιλογές αυτές αγγίζουν ένα φάσμα από διάφορα είδη. Για παράδειγμα εδώ η μπάντα καταπιάνεται από το "Felicidade" των Jobim/De Moraes, το "Come Sunday" του Ellington εώς και το κλασικό "Love Theme" του Alex North από την ταινία Spartacus. Φυσικά το ομώνυμο και πασίγνωστο "The In Crowd" παραμένει ένα απ' τα κορυφαία του δίσκου.

Καλή ακρόαση!

Radiodada 

The In Crowd - The Ramsey Lewis Trio

About Ramsey Lewis

Ramsey Emmanuel Lewis, Jr. (born May 27, 1935) is an American jazz icon, composer, pianist and radio personality. He has been referred to as "the great performer", a title reflecting his performance style and musical selections which display his early gospel playing and classical training (Bach, Beethoven, Brahms, etc.) along with his love of jazz and other musical forms. Ramsey Lewis has recorded over 80 albums and has received five gold records and three Grammy Awards so far in his career.

Ramsey Lewis was born in Chicago, Illinois, to Ramsey Lewis, Sr. and Pauline Lewis. Lewis began taking piano lessons at the age of four. At 15 he joined his first jazz band, The Cleffs. The seven-piece group provided Lewis his first involvement with jazz; he would later join Cleffs drummer Isaac "Redd" Holt and bassist Eldee Young to form the Ramsey Lewis Trio.

The trio started as primarily a jazz unit and released their first album, Ramsey Lewis And The Gentlemen of Swing, in 1956. Following their 1965 hit The In Crowd (the single reached #5 on the pop charts, and the album #2) they concentrated more on pop material. Young and Holt left in 1966 to form the Young-Holt Trio and were replaced by Cleveland Eaton and Maurice White. White was replaced by Maurice Jennings in 1970. Later, Franky Donaldson and Billy "The Bhudda" Dickens replaced Jennings and Eaton; Felton Crews also appeared on many 1980's releases.

By 1966, Lewis was one of the nation’s most successful jazz pianists, topping the charts with The In Crowd, Hang On Sloopy, and Wade in the Water. Many of his recordings attracted a large non-jazz audience. In the '70s, Lewis often played electric piano, although by later in the decade he was sticking to acoustic and using an additional keyboardist in his groups.

In addition to recording and performing, Lewis hosted a morning show on Chicago "smooth jazz" radio station WNUA (95.5 FM) until May 22, 2009. His weekly syndicated radio program "Legends of Jazz," created in 1990, features recordings from artists such as David Sanborn, George Duke, Herbie Hancock, Charlie Parker, Dizzy Gillespie, Kurt Elling, Al Jarreau and Miles Davis. The show can be heard in 60 U.S. cities and overseas. On December 4, 2006, the Ramsey Lewis Morning Show became part of Broadcast Architecture's Smooth Jazz Network, simulcasting on other Smooth Jazz stations across the country for the first time. However, the show is still based in Chicago.

In 2006, a well-received 13-episode Legends of Jazz television series hosted by Lewis was broadcast on public TV nationwide and featured live performances by a variety of jazz artists including Larry Gray, Lonnie Smith, Joey Defrancesco, Dave Brubeck, Chick Corea, Kurt Elling, Benny Golson, Pat Metheny and Tony Bennett.

Lewis is artistic director of Jazz at Ravinia (an annual feature at the Ravinia Festival in Highland Park, Illinois) and helped organize Ravinia's Jazz Mentor Program. Ramsey also serves on the Board of Trustees for the Merit School of Music, a Chicago inner-city music program. Early in 2005, the Ramsey Lewis Foundation was created to help connect at-risk children to the world of music. As an offshoot of that foundation, Lewis plans to form a Youth Choir and Youth Orchestra. In January 2007, the Dave Brubeck Institute invited Lewis to join its Honorary Board of Friends at the University of the Pacific in Stockton, California. Lewis is an Honorary Board member of the Chicago Jazz Orchestra.

Lewis still lives in Chicago, Illinois, the city of his musical roots. He has seven children, fourteen grandchildren, and one great-grandchild.