Adrian James "A.J." Croce (born September 28, 1971 in Bryn Mawr, Pennsylvania) is an American singer-songwriter. He is the son of singer-songwriters Jim Croce and Ingrid Croce. Ron Goldstein and Peter Bauman of Private Music signed Croce to his first recording contract at age 19. He recorded two albums for Private Music: his self-titled debut, A. J. Croce, produced by T-Bone Burnett and John Simon, and That's Me in the Bar, produced by Jim Keltner, and featuring artists such as Ry Cooder, David Hidalgo, and Keltner himself. Croce is also the owner/operator of his own record label, Seedling Records.
14 de jun de 2016
Ahmad Khatab Salim or Ahmad Kharab Salim (born Albert Atkinson on July 28, 1922) was an American jazz composer, and arranger. Salim attended DuSable High School with Bennie Green, Dorothy Donegan and Gene Ammons and played alto saxophone in King Kolax's band from 1938 to 1939 before working with Jimmy Raschel and Tiny Bradshaw. He stopped playing after a jaw injury in 1943 and arranged music for the big bands of Lucky Millinder, Cab Calloway, Jimmy Lunceford, Lionel Hampton and Count Basie who recorded his composition "Normania" in 1949, and recorded it again in 1952 as "Blee Blop Blues". Salim left music for a career in real estate from 1949 to 1956 but returned to write and arrange Latin jazz for Tito Puente, Machito, Dizzy Gillespie and others. Salim released three albums under his leadership on Savoy Records in the late 1950s and recorded a further album for Prestige Records in 1964.
9 de mai de 2016
In 1976, the pianists Rob Franken en Jan Huydts both lived in Soest (Netherlands). They hung out together a lot, and shared their love for newly developed key instruments. Both of them were Fender Rhodes electric piano pioneers. Rob Franken's piano virtuosity is to be recognized on as many as four hundred records. In 1976, he had his own trio and performed with the Dutch funk fusion formation ‘Scope’ from the city of Zwolle. In this band, he met with drummer Henk Zomer, whom he was very impressed with.
At the end of 1975, Rob Franken came to the idea to start a new formation based on the combination of different consonance colors by combining Fender pianos with synthesizers, string cabinets and other electronic key instruments. Jan Huydts, who was experienced in making experimental music through his formations ‘Basic Train’ and ‘Third Eye’, thought this was a good idea. They decided to arrange their key instruments in a circle during their performances and so the ‘The Keyboard Circle’ was born.
The two musicians composed their own repertoire out of their own compositions and music covers. For example, on this record we find the Scopesong ‘Tamotua’, Kenny Dorham’s ‘Blue Bossa’ and Eddie Henderson’s ‘The Kumquat Kids’. They decided to play the bass lines themselves, one by one, on a bass synth, while the other was playing his solo. The drums of Henk Zomer, clearly inspired by Jack DeJonetthe and Tony Williams, became the driving force.
Soon after a few rehearsals the first performances took place. One of these first performances is to be found on this CD, recorded on February 8, 1976 in youth centre ‘De Trucker’ in Pijnacker, near The Hague. Han Reiziger, producer for VPRO radio had a craze for special jazz music and was not afraid to show his admiration for Rob Franken's work. He is the instigator of this special recording, that for reasons that aren't clear were never broadcasted. Whilst researching for a radio documentary the maker ran up against these tapes, which everyone had forgotten existed.
To begin with, the soundscape that reveals itself to you when listening to ‘The Keyboard Circle’ is a unique product of its time. Grounded in the mid seventies it’s no less than the works of Herbie Hancock and Chick Corea of those days. Exuberant swing and virtuous solos will find their way through your core. At the same time, the music is subdued in a typically Dutch manner. Most importantly, this music has its own sound, which can't compare to anything you’ve ever heard before.
Unfortunately, ‘The Keyboard Circle’ died at a young age. While Franken was Jean ‘Toots’ Thielemans' regular pianist, he had multiple radio and television performances, taught at the conservatory and above all, he was one of the most frequently programmed Dutch musicians during the seventies. Because of the immense amount of gigs Rob Franken was offered, performances were frequently cancelled at short notice. For this reason, Jan Huydts decided to quit after a while. This became irreversible by the sudden death of Rob Franken in 1983. Unfortunately, no record was ever released. Now this time has come. By listening to the CD you finally have the chance to get to know ‘The Keyboard Circle’. This rectification in the history of Dutch jazz music was a necessary one. And so: the circle is round.
24 de abr de 2016
Terje Rypdal (born 23 August 1947) is a Norwegian guitarist and composer. Most of his music has been released on albums of the German record label ECM. Rypdal has collaborated both as a guitarist and as a composer with other ECM artists such as Ketil Bjørnstad and David Darling. Over the years, he has been an important member in the Norwegian jazz community, and has also given show concerts with guitarists Ronni Le Tekrø and Mads Eriksen as "N3". Rypdal was born in Oslo, the son of a composer and orchestra leader. He studied classical piano and trumpet as a child, and then taught himself to play guitar as he entered his teens. Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek's group and later George Russell's sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany, in 1969, where he was part of a band led by Lester Bowie. During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions (some of which do not feature Rypdal's guitar). His compositions "Last Nite" and "Mystery Man" were featured in the Michael Mann film Heat, and included on the soundtrack of the same name...
- Terje Rypdal - guitar, string ensemble, soprano sax
- Tornbjørn Sunde - trombone
- Brynjulf Blix - organ
- Sveinung Hovensjø - 6 & 4-string fender bass
- Svein Christiansen - drums
às 8:00 AM
3 de abr de 2016
7 de nov de 2015
2013 release, the newest volume in the ongoing saga of outstanding Jazz stylings synonymous with good taste and elegance. Jazz And Floyd brings you the songs made famous by the creators of the Wall in new Jazz versions, with all the sophistication of the New York Jazz club scene. The chance to give a twist to classics such as 'Another Brick in the Wall' and 'Wish You Were Here' excited the producers of this fantastic series and Jazz And Floyd, like it's predecessors, will surely be a hit with listeners of all ages.
01. Stella Starlight Trio – Another Brick in the Wall (Part 2) (2:45)
02. The Cooltrane Quartet – Breathe (In the Air) (2:37)
03. Michelle Simonal – Time (3:44)
04. George White Group – Money (2:54)
05. Shirley Adamson – Us and Them (3:51)
06. 48th Collective – Shine on You Crazy Diamond (2:42)
07. Celso Mendes – Wish You Were Here (3:28 )
08. Mandy Jones – Mother (3:58 )
09. Jazzystics – Learning to Fly (3:21)
10. Dinah York – On the Turning Away (3:54)
11. Les Crossaders – See Emily Play (2:39)
12. The Bryan J. White Trio – Run Like Hell (2:37)
às 12:32 PM
23 de set de 2015
Um som diferente, que ouvi, gostei e partilho aqui...
"The name Will Sessions was born as a producer alias of trumpeter Sam Beaubien. After sharpening his keyboard skills and learning writing and arrangement from the accomplished David Van De Pitte (who arranged for countless Motown recordings including Marvin Gaye’s album What’s Going On) at Wayne State University, he decided to start a band. With classmates Tim Shellaberger (bass) and Bryan Arnold (drums) along with recruits Ryan Gimpert (guitar) and Eric Kacir (Percussion), the band was complete.T h e y helped to develop a nascent monthly funk music party called Motor City Funk Night, and three years later, the party has grown into one of the sta- ples of the Detroit scene, and Will Sessions were playing in front of crowds of up to 3000 people.
The success of the Funk Night parties led to significant studio work with artists like Black Milk, Mayer Hawthorne, and Slum Village, and the hip hop sessions in particular led Beaubien to concoct the idea of Will Sessions recreating his favorite sample-based music in a live setting with the full band. His vision would be realized with three smash concerts in 2009 for Black Milk, Guilty Simpson, and Phat Kat, which left hip hop fans in awe of how the band stayed faithful to the original sampled and programmed beats, while creatively elevating the songs to new heights by recreating them live. It was the particular challenge of duplicating the unique beats of J Dilla that gave Beaubien the confidence to work on the emcee Elzhi’s anticipated project Elmatic.
Elmatic had been initially planned and announced in 2008 as a tribute to the historic 1994 album Illmatic by Nas, but it wasn’t until early 2011 that Elzhi and his manager Jae Barber agreed that it would be best to recreate all of the beats from scratch--and there was clearly nobody who could do it better than producer Sam Beaubien and Will Sessions. Since it’s widely considered to be the holy grail of hip hop recordings, the prospect of du- plicating the music from Illmatic was daunting. By using the original sam- ple sources of the album’s tracks as a foundation, producer Beaubien and the band members managed to recreate both the sound and the mood of the classic album with stunning precision on Elmatic, exceeding lofty expectations set by loyal fans and skeptical critics alike.
With an ever-increasing body of recorded work, a skyrocketing reputation within their hometown market, and their first tastes of national and international interest, Will Sessions are primed to be among Detroit’s hottest musical exports."
às 11:59 AM
11 de set de 2015
Subindo ao palco Sr. Wynton Marsalis.... Wynton Learson Marsalis (Nova Orleans, 18 de outubro de 1961) é um trompetista e compositor americano. Conhecido pela sua sisudez e seriedade ao tratar a música, é um músico polêmico. Diretor do Jazz at Lincoln Center em Nova Iorque, é considerado "embaixador da música americana" pelo seu profundo respeito e divulgação das tradições musicais. Começou na música muito cedo, tendo manifestado profundo interesse pelo jazz e pela música erudita. É considerado um dos maiores "virtuoses" do trompete atualmente. A lista de músicos com os quais já colaborou inclui Dizzy Gillespie, Arturo Sandoval, Herbie Hancock, Jack DeJohnette, Bobby McFerrin, entre outros. Só fera... E agora, Eric Clapton.
New York City’s premier jazz venue got the blues last April when Wynton Marsalis and Eric Clapton performed together in Rose Theater at Frederick P. Rose Hall, home of Jazz at Lincoln Center for two sold-out shows dedicated to vintage blues. The extraordinary collaboration, billed as Wynton Marsalis & Eric Clapton Play the Blues, paired these musical virtuosos with members of the Jazz at Lincoln Center Orchestra as they brought to life a repertoire of songs selected by Clapton and arranged by Marsalis.
Wynton Marsalis (trumpet)
Eric Clapton (guitar, vocal)
Dan Nimmer (piano)
Carlos Henriquez (bass)
Ali Jackson (drums)
Marcus Printup (trumpet)
Victor Goines (clarinet)
Chris Crenshaw (trombone, vocals)
Don Vappie (banjo)
Chris Stainton (keyboard)
"This collaboration was a pure joy because Eric is about music. We didn’t have any pettiness or stupidity about anything small. It takes great courage to come to New York and learn 12 new arrangements in three days, front a band that you’ve never played with in a form of music you don’t normally play, play three concerts, and sing almost all of the material. Eric did this flawlessly, and after all of that he told me, “I’d rather play the rhythm parts than play any solos.” That’s why I love and respect him."
- Wynton Marsalis
às 6:03 PM
7 de jul de 2015
It was early in the Thirties: after emerging from the piano-bars and honky-tonks of Texas, boogie woogie moved into rent parties in Harlem. The fashion had started. Passing jazzmen, converted bluesmen or authentic diehards, the aces of the keyboard here show all the richness of this powerful, obsessional genre that was the most African of piano jazz styles, an essential component of what became rock and roll.
01. Albert Ammons - Boogie Woogie Stomp
02. Cow Cow Davenport - Cow Cow Blues
03. Pinetop Smith - Jump Steady Blues
04. Jimmy Yancey - Yancey Limited
05. Jimmy Yancey - Five OClock Blues
06. Meade Lux Lewis - Honky Tonk Train Blues
07. Albert Ammons - Suitcase Blues
08. Clarence "Cripple" Lofton - The Fives
09. Arthur "Montana" Taylor - Indiana Avenue Stomp
10. Red Speckled - St Louis Stomp
11. Little Brother Montgomery - Farish Street Jive
12. Cleo Brown - Pinetops Boogie Woogie
13. Pete Johnson - Basement Boogie
14. Pete Johnson - Death Ray Boogie
15. Pete Johnson - Boogie Woogie Man
16. Hazel Scott - A Rainy Night In G
17. Big Maceo - Chicago Breakdown
18. Memphis Slim - Pacemaker Boogie
19. Piano Red - Reds Boogie
20. Amos Milburn - Amos Boogie
21. Cecil Gant - Screwy Boogie
22. Camille Howard - Fire-Ball Boogie
23. Sammy Price - Eiffel Tower
24. Albert Ammons - Swanee River Boogie
às 11:41 AM
23 de abr de 2015
The Root Source have returned, with a quality and timeless follow up to their self titled debut album released in 2007 (FSRCD019). Upon its release, the London based septet were lauded by the likes of Nicola Conte, Snowboy and Gilles Peterson and discerning dance floors around the world took a real heel bashing whenever any of these top DJs played the tracks from the album in their club sets! Now in 2010, this brand new collection has been nurtured lovingly, earnestly, soulfully and truthfully by Hammond Organist/Pianist Andrew Fairclough. Drawing on influences from Deep jazz, Funk and Samba Fusion of 60s and early 70s origin yet wholeheartedly retaining contemporary originality. All tracks are new compositions except an unlikely yet anthemic jazz dance reworking of the Oompah Loompah Theme/Pure Imagination from Charlie and the Chocolate Factory!
às 5:38 PM
2 de abr de 2015
Faces Of Jazz - Meditation
LP Gemini Records [GR 1000] (1979)
Piano [Fender Rhodes, Acoustic], Yamaha Synthesizer, Flute, Wind-chimes, Cabasa, Voice Effects, Triangle, Cowbells, Composer, Arranger, Jacket Design & Layout - Steve Carney
Bass - Marty Ruddy
Yamaha Flugelhorn, Trumpet - Doug Davis
Drums, Congas - Russell Bizzett
Producer - Jim Wilson, Steve Carney
Engineer - Jim Little
Cover Photo - Jim Wilson
Recorded and mixed at Juniper Studios near Bailey, Colorado during May and June, 1979
às 2:51 PM
24 de mar de 2015
American instrumental rhythm & blues and soul combo, formed 1962 in Memphis, Tennessee. Best remembered as the in-house backing band of the Stax record label. The band’s name is a combination of organist Booker T. Jones’s first names and the acronym for “Memphis Group”, MG. Other members were Al Jackson Jr. (drums), Steve Cropper (guitar), and Lewis Steinberg (bass guitar) who was replaced by Donald “Duck” Dunn in 1963.
Melting Pot is a 1971 studio album recorded by Booker T. & the M.G.'s for Stax Records. It is the last album to feature the group's classic lineup of Jones, Cropper, Dunn, and Jackson, and featured longer jam-oriented songs for the first time on an MG's album.
The review in Rolling Stone magazine was very positive, concluding in its final paragraph:
"Altogether, as an album, it works really well, with the group's customary taste and precision balanced against a new looseness and a return to earlier, funky playing patterns. That's more than enough to make it the best Booker T. album in some time, the Memphis Gas of the Year, and a Major Rock Event for everyone."
às 1:54 PM
15 de mar de 2015
John Haley "Zoot" Sims (October 29, 1925 - March 23, 1985) was an American jazz saxophonist, playing mainly tenor and soprano. n the 1950s and '60s, Sims had a long, successful partnership as co-leader of a quintet with Al Cohn, which recorded under the name "Al and Zoot". That group was a favorite at New York City's Half Note Club. Always fond of the higher register of the tenor sax, Zoot also liked to play alto and late in his career added the soprano saxophone to his performances, while recording a series of albums for the Pablo Records label of impresario Norman Granz. Zoot also played on some of Jack Kerouac's recordings. Sims acquired the nickname "Zoot" early in his career while he was in the Kenny Baker band in California. The name was later appropriated for a sax-playing Muppet. Zoot Sims died in New York City of cancer on March 23, 1985,and is buried in Oak Hill Cemetery, Nyack, New York
às 1:26 PM
10 de dez de 2014
Roberts was born in Phoenix, Arizona, and began playing guitar at the age of 8. By the time he was 15 he was playing professionally locally. In 1950 he moved to Los Angeles. There, with the assistance of Jack Marshall, he began playing with musicians including Bobby Troup, Chico Hamilton and Barney Kessel. In about 1956, Bobby Troup signed him to Verve Records as a solo artist. Around that time he decided to concentrate on recording, both as a solo artist and session musician, a direction he would continue until the early 1970s. Roberts played rhythm guitar, lead guitar, bass and mandolin, in the studio and for television and movie projects, including lead guitar on the theme from The Twilight Zone, as well as the classic guitar themes in The Munsters, Bonanza, The Brady Bunch, Green Acres, Get Smart, Batman, Beverly Hillbillies, Andy Griffith, Peter Gunn, Johnny Quest, Gidget, Mannix, Lost in Space, Dragnet, Wild Wild West, Mission Impossible, The Odd Couple, and rhythm guitar on the theme from I Dream of Jeannie.
Artists Roberts backed include Georgie Auld, Peggy Lee (Fever), Eddie Cochran (Sittin' in the Balcony), Bobby Day (Rockin Robin), Jody Reynolds (Endless Sleep), Shelley Fabares (Johnny Angel), Dean Martin (Houston), The Monkees, Roy Clark, Chet Atkins, and The Electric Prunes. In 1961, Roberts designed a signature guitar which was originally produced by Epiphone. The guitar was a modified Gibson ES-175 (Epiphone is owned by Gibson and during this period Epiphone guitars were manufactured in the same factory as Gibson guitars in Kalamazoo, Michigan), with a round sound hole and a single pickup. A redesigned version was later produced by Gibson. The Howard Roberts signature was borne by two other models made by Gibson: the Howard Roberts Custom and the Howard Roberts Fusion III. In 1963, Roberts recorded Color Him Funky and H.R. Is A Dirty Guitar Player, his first two albums after signing with Capitol. Produced by Jack Marshall, they both feature the same quartet with Roberts (guitar), Chuck Berghofer (bass), Earl Palmer (drums) and Paul Bryant alternating with Burkley Kendrix on organ. Both albums were released on a single CD under the title Dirty & Funky on Randy Bachman's label Guitarchives in 1998. In all, he recorded nine albums with Capitol before signing with ABC Records/Impulse! Records.
From the late 1960s, Roberts began to focus on teaching rather than recording. He traveled around the country giving guitar seminars, and wrote several instructional books. For some years he also wrote an acclaimed column called "Jazz Improvisation" for Guitar Player magazine. Roberts developed accelerated learning concepts and techniques, which led to the founding of Playback Music Publishing and the Guitar Institute of Technology. As a co-founder of GIT, now known as the Musicians Institute, Roberts' philosophy remains an integral part of the curriculum. Roberts died of prostate cancer in Seattle, Washington on June 28, 1992. His wife Patty, also active in musical education, continued in this field after his death. Howard inspired the opening of Roberts Music Institute in Seattle, Washington, which is currently owned by his son, Jay Roberts.
às 10:13 AM
30 de out de 2014
Ray Charles (Albany, 23 de Setembro de 1930 – Los Angeles, 10 de Junho de 2004) foi um pianista, pioneiro e cantor de música soul, blues, jazz que ajudou a definir o seu formato ainda no fim dos anos 50, além de um inovador intérprete de R&B. Seu nome de batismo, Ray Charles Robinson, foi encurtado para Ray Charles quando entrou na indústria do entretenimento para não ser confundido com o famoso boxeador Sugar Ray Robinson. Considerado um dos maiores gênios da música negra norte-americana, Ray Charles também foi um dos responsáveis pela introdução de ritmo gospel nas músicas de R&B. Foi eleito pela Rolling Stone o 2º maior cantor de todos os tempos e 10º maior artista da música de todos os tempos.
Há 10 anos, a música perdia o grande ídolo Ray Charles. Para marcar a data, o box triplo King of Cool reúne 78 faixas do "Gênio" americano. Entre as escolhidas, clássicos como "I've got a woman", "Hit the road Jack" e "Early in the morning".
às 5:42 PM