The Cannonball Adderley Sextet in New York is a live album by jazz saxophonist Cannonball Adderley recorded at the Village Vanguard and released on the Riverside label featuring performances by Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones and Louis Hayes.
The Penguin Guide to Jazz awarded the album 2½ stars stating “‘Bringing in Joe Zawinul and Yusef Lateef energised the band anew”. When reissued in 2008 All About Jazz called the album “perhaps the single most indispensable recording by the Adderley Brothers”. (by wikipedia)
This excellent live date from the Village Vanguard was the recording debut of the Adderley sextet, with Cannonball waxing eloquently and swingingly on alto, brother Nat charging ahead on cornet, and the versatile Yusef Lateef (who had joined the band only three weeks earlier) adding a bit of an edge on tenor, flute, and unusually for a jazz wind player, oboe on the odd, dirge-like “Syn-Anthesia.”
Also, this was the first recorded appearance of pianist Joe Zawinul — a little over three years since his arrival in America — in Cannonball’s band. This group would be Zawinul’s springboard to prominence in the jazz world, and readily apparent is how his compulsively funky mastery of bop and the blues had fused tightly with the Sam Jones/Louis Hayes rhythm section. Included is one of the earliest recordings of a Zawinul composition, “Scotch and Water,” a happy, swinging blues. 8by Richard S. Ginell)
Recorded live at the Village Vanguard in New York City, NY on January 12 & 14, 1962
Cannonball Adderley (saxophone)
Nat Adderley (cornet)
Louis Hayes (drums)
Sam Jones (bass)
Yusef Lateef (saxophone, flute on 02., oboe on 05.)
Joe Zawinul (piano)
01. Introduction by Cannonball / Gemini (Heath) 13.41
02. Planet Earth (Lateef) 8.00
03. Dizzy’s Business (Wilkins) 7.01
04. Syn-Anthesia (Lateef) 7.04
05. Scotch And Water (Zawinul) 5.55
06. Cannon’s Theme (Jones) 3.17
Charles Robert Watts (born 2 June 1941) is an English drummer, best known as a member of the Rolling Stones since 1963. Originally trained as a graphic artist, he started playing drums in London’s rhythm and blues clubs, where he met Brian Jones, Mick Jagger, and Keith Richards. In January 1963, he joined their fledgling group, the Rolling Stones, as drummer, while doubling as designer of their record sleeves and tour stages. He has also toured with his own group, the Charlie Watts Quintet, and appeared in London at Ronnie Scott’s Jazz Club with the Charlie Watts Tentet.
In 2006, Watts was elected into the Modern Drummer Hall of Fame; in the same year, Vanity Fair elected him into the International Best Dressed List Hall of Fame. In the estimation of noted music critic Robert Christgau, Watts is “rock’s greatest drummer.” In 2016, he was ranked 12th on Rolling Stone’s “100 Greatest Drummers of All Time” list. (by wikipedia)
Forget what the label says — this is a Bernard Fowler recording. On this ultra-polite recital of classic ballads, vocalist Fowler is in the spotlight, crooning to pleasant, if never electrifying effect. The jazz content of Long Ago and Far Away stays under wraps, as if too much stimulation would sully the proceedings. And it is claimed that the man swishing the brushes ever so wispily over his drum set is Charlie Watts of the Rolling Stones. (by Steve Futterman)
“Charlie departs the hard rocking rhythm of the Rolling Stones and takes you through a jazz web of sheer beauty. Charlie has always loved jazz and he is by far one of the most prolific and pure drummers in the world today. He takes percussion very seriously as it should be and delivers with a resounding punch. This is a wonderful piece of work and shows his talent and knowledge and background in the world of jazz. This is a must own for all Stones fans and lovers of great jazz music. I do hope that Charlie continues his amazing percussion work in the jazz venue. He is a one of a kind musician and the quintet is stunning.”
“Charlie Watts sure knows how to rekindle romance and soft candlelight with the likes of “Long Ago and Far Away”, a song itself that re-assures magical moments of love splendors. The exquisite musical arrangements and the musicians themselves are top-notch. The versatility of the drumming Rolling Stoner Charlie himself lends wonder to the lush finesse of the CD itself. I truly enjoy the delightful titles within, and what better to do than to put on the album in the wee small hours of the evening if you know what true romance is all about…Enjoy!!” (b Peter Lim)
Tell me why you chose songs like “I’ve Got a Crush on You” and “In a Sentimental Mood” for the new album: My mother used to sing some of them when I was a kid, hence the title of the album. It’s quite nice setting a singer up like that with the strings. If you’re a drummer, and you sit and the strings just swell like that, it’s a fantastic sound to just swish away to. I enjoy that because I play with guitar players all the time. (Charlie Watts, taken from an interview wit the Rolling Stone Magazine, May 30, 1996)
Bernard Fowler (vocals)
David Green (bass)
Louis Jardim (percussion)
Peter King (saxophone)
Brian Lemon (piano)
Gerard Presencer (flugel horn, trumpet
Charlie Watts (drums) + London Metropolitan Orchestra:
Rachel Bolt (viola)
Aline Brewer (harp)
Andrew Brown (viola)
David Daniels (cello)
Caroline Dearnley (cello)
David Emanuel (violin)
Cathy Giles (cello)
Ian King (violin)
Vanessa King (french horn)
Siobhan Lamb (flute)
Sophie Langdon (violin)
Rita Manning (violin)
David Ogden (violin)
Judith Shatin (oboe)
James Sleigh (viola)
Peter Tanfield (violin)
Cathy Thompson (violin)
Chris Van Kampen (cello)
Nicholas Ward (violin)
Jeremy Williams (violin)
01. I’ve Got A Crush On You (G.Gershwin/I.Gershwin) 4.24
02. Long Ago (And Far Away) (Kern/I.Gershwin) 5.05
03. More Than You Know (Eliscu/Rose/Youmans) 4.54
04. I Should Care (Cahn/Stordahl/Weston) 4.08
05. Good Morning Heartache (Drake/Fisher/Higginbotham) 4.56
06. Someday You’ll Be Sorry (Armstrong) 2.52
07. I Get Along Without You Very Well (Carmichael) 4.24
08. What’s New? (Burke/Haggart) 3.50
09. Stairway To The Stars (Malneck/Parish/Signorelli) 4.14
10. In The Still Of The Night (Porter) 4.07
11. All Or Nothing At All (Altman/Lawrence) 5.12
12. I’m In The Mood For Love (Fields/McHugh) 3.55
13. In A Sentimental Mood (Ellington/Kurtz/Mills) 3-43
14. Never Let Me Go (Evans/Livingston) 3.14
Special Delivery is the second studio album by southern rock band 38 Special, released in 1978. Neon Park was responsible for the album’s artwork. (by wikipedia)
The second album from .38 Special and it stays in the pure southen rock style the band debuet with the first album but just a bit better and with a couple hints of what was to come. This album also has the bands first Ronnie Van Zant tribute song on it TAKE ME BACK was written as a tribute to Ronnie and how much Donnie has been missing his as a brother and as a mentor.
as mentioned above, you also get a glimps of what the bands sound would start to move to but not a large glimps
I Been A Mover has that catchy, upbeat feel to it and the guitars come alive in this one. Donnie Van Zant in his trademark hat and energy just smoked on this one. Don and Jeff make on heck of a guitar team and the 2 drummers and LJ on bass made for a solid rythm section.
Like I said above you can see a small shift in the music, just a small hint of what was to come. with this one you can just imagine them pumping it up a bit and Don bringing his vocals to this
This is the last pure southern rock album the band would put out but not the last time they carry the flag for the genre. as the 80’s were to wear on they would be THE last of the southern rock bands standing, thanks to the way the band would meld AOR and Southern Rock. The best was yet to come for the band and the fans, although many times they had to answer the question on if they sold out. I say NO. you listen to the albums to follow and the band just got better. they found what they did well and ran with it. why be a 2nd rate Skynyrd when you can be a first rate .38 Special? (by 66 mustang)
Don Barnes (guitar, vocals)
Steve Brookins (drums)
Jeff Carlisi (guitar, pedal-steel guitar, slide guitar)
Terry Emery (percussion, piano)
Jack Grondin (drums)
Larry Junstrom (bass)
Donnie van Zant (vocals)
Billy Powell (piano on 01. + 08.)
01. I’m A Fool For You (Cascella) 3.02
02. Turnin’ To You (Barnes/Carlisi) 4.06
03. Travelin’ Man (Barnes/Carlisi/van Zant)
04. I Been a Mover (Carlisi/van Zant) 4.19
05. What Can I Do? (Barnes/van Zant) 4.32
06. Who’s Been Messin’ (Barnes/Carlisi/van Zant/Hartman) 4.19
07. Can’t Keep A Good Man Down (Barnes(van Zant/Junstrom) 3.23
08. Take Me Back (Barnes/van Zant) 5.17
You’re Gonna Get It! is the second album by Tom Petty and the Heartbreakers, released in 1978. Originally, the album was to be titled Terminal Romance. It peaked at No. 23 on the Billboard Top LPs & Tapes chart in 1978.
Many reviewers rated You’re Gonna Get It! a notch lower than the band’s moderately well-received debut album. Some reviews such as in Rolling Stone at the time noted the “impressive stylistic cohesiveness” between the two. It did chart higher, however, than its predecessor. (by wikipedia)
Tom Petty & the Heartbreakers didn’t really knock out their second album — it was released two years after their debut — but it sure sounds as if they did. There are some wonderful moments on this record, but it often feels like leftovers from a strong debut, or an album written on the road, especially since the music is simply an extension of the first album. That said, when You’re Gonna Get It! works, it devastates. That’s not saying that “When the Time Comes” is a masterpiece, even if it’s a fine opener, but it does mean that “I Need to Know” and the scathing “Listen to Her Heart” are testaments to how good this band could be when it was focused.
If the rest of the album doesn’t achieve this level of perfection, that’s a signal that they were still finding their footing, but overall it’s still a solid record, filled with good performances that are never quite as good as the songs. It’s pretty good as it spins, but once it finishes, you remember those two songs at the heart of the record, maybe the opener and closer, which are stronger than the rest of the competent, enjoyable, yet unremarkable roots-rockers that surround them. Not necessarily a transitional effort — after all, it pretty much mirrors its predecessor — but a holding pattern that may not suggest the peaks of what’s to come, but still delivers a good soundalike of the debut. (by Stephen Thomas Erlewine)
Ron Blair (bass, guitar, sound effects, background vocals)
Mike Campbell (guitar, accordion)
Stan Lynch (drums, background vocals)
Tom Petty (guitar, vocals, piano)
Benmont Tench (keyboards, background vocals)
Phil Seymour (background vocals on 04.)
Noah Shark (percussion)
01. When The Time Comes (Petty) 2.47
02. You’re Gonna Get It (Petty) 3:01
03. Hurt (Petty/Campbell) 3.18
04. Magnolia (Petty) 3.02
05. Too Much Ain’t Enough (Petty) 2.58
06. I Need To Know (Petty) 2.26
07. Listen To Her Heart (Petty) 3.04
08. No Second Thoughts (Petty) 2.42
09. Restless (Petty) 3.23
10. Baby’s A Rock ‘n’ Roller (Petty/Campbell 2.54
Bloodrock was an American hard rock band based in Fort Worth, Texas, that had success in the 1970s. The band emerged from the Fort Worth club and music scene during the early to mid-1970s.
Bloodrock initially formed in Fort Worth in 1963, under the name the Naturals. This first lineup featured Jim Rutledge – drums/vocals, Nick Taylor (1946-2010) – guitar/vocals, Ed Grundy – bass/vocals, and Dean Parks – guitar. They released their first single in 1965 “Hey Girl” b/w “I Want You” (Rebel MME 1003). Shortly thereafter they changed their name to Crowd + 1 and released three more singles: “Mary Ann Regrets” b/w “Whatcha Tryin’ to Do to Me” (BOX 6604), “Don’t Hold Back” b/w “Try,” and “Circles” b/w “Most Peculiar Things.”
In 1967, Parks left Crowd +1 to become the musical director for The Sonny & Cher Show (the beginning of a long career as a session musician). He was replaced by Lee Pickens on guitar. It was also at this time that Stevie Hill joined the group on keyboards and vocals. They continued as Crowd + 1 until 1969 when they changed their name to Bloodrock, conceived by Grand Funk Railroad manager/producer Terry Knight. They also recorded their first album under Knight, Bloodrock (Capitol ST-435). The album, released in March 1970, peaked at 160 on the Billboard 200 chart.
In 1970, Rutledge moved from behind the drum set to take on lead vocal duties exclusively. Rick Cobb took over the percussive duties and added his voice to the group as well. This lineup recorded their next four albums: Bloodrock 2 (ST-491), Bloodrock 3 (ST-765), Bloodrock USA (SMAS 645), and Bloodrock Live (SVBB-11038).
Bloodrock 2 was their most successful album peaking at number 21 on the Billboard Pop Album Chart in 1971, mostly on the strength of their single “D.O.A.”, which reached number 36 on the Billboard Hot 100 chart on March 6, 1971. “D.O.A.” also gave the band considerable regional exposure throughout the Southwest and West, particularly in Texas and Southern California. “D.O.A.” was probably the band’s most well-known and well-remembered single. However, some radio stations would not play the song because of the use of sirens. The concern was that the siren sound would confuse motorists.The motivation for writing this song was explained in 2005 by guitarist Lee Pickens. “When I was 17, I wanted to be an airline pilot,” Pickens said. “I had just gotten out of this airplane with a friend of mine, at this little airport, and I watched him take off. He went about 200 feet in the air, rolled and crashed.” The band decided to write a song around the incident and include it on their second album.
In 1972 Lee Pickens left to form the Lee Pickens Group and released the album LPG in 1973 on Capitol Records. Jim Rutledge also left Bloodrock in 1972, later releasing a solo album in 1976 on Capitol Records titled Hooray for Good Times. Bloodrock replaced Rutledge on vocals and guitar with Warren Ham on vocals, flute and saxophone. Stevie Hill on keyboards adjusted to Ham’s presence by shifting his own style. These changes to personnel and style moved the hard rock sound of the band in a lighter direction, more toward progressive rock, pop and jazz, alienating some fans. The subsequent album, Passage was the last time Bloodrock visited the charts. It peaked at number 104 on the Billboard 200 in 1972.
1973 brought another personnel change: Rick Cobb vacated the drums to be replaced by Randy Reader. This line up recorded one album: Whirlwind Tongues (1974).
The end of the road for Bloodrock came in 1975. Randy Reader left the group and an album, Unspoken Words, remained unreleased until 2000, when it was included as part of the CD release Triptych (along with Passage and Whirlwind Tongues). Unspoken Words featured Bill Ham (Warren’s Brother) and Matt Betton.
A reunion concert featuring all five members of the original lineup (Jim Rutledge, Lee Pickens, Ed Grundy, Nick Taylor, and Stevie Hill), plus Chris Taylor (Nick’s son) in place of drummer Rick Cobb III from the classic six-member lineup, was held on March 12, 2005, in Fort Worth, for the benefit of their keyboardist Stevie Hill, to help with medical costs related to his combating leukemia. The reunion concert was filmed and released on DVD. Stevie Hill died on September 12, 2013, from leukemia.
Bloodrock’s music has been categorized primarily as hard rock. Bloodrock’s 1970 self-titled debut album was described in the context of hard rock and early heavy metal by AllMusic’s Donald A. Guarisco. Bloodrock 2 was not as morbid and heavy, and more of a chart success, while Bloodrock 3 and Bloodrock U.S.A. saw the band introduce progressive rock elements. The band’s 1972 personnel changes shifted them toward prog rock, jazz and pop music.
Bloodrock 3 is the third album by the Texan rock band Bloodrock, released on Capitol Records in April 1971. (by wikipedia)
On their third album, Bloodrock makes a full return to the ominous hard-rocking sound that made their debut album such a solid release. For proof, look no further than “Whiskey Vengeance”: This gutsy rocker starts with a creepy wordless vocal intro, then breaks into a galloping riff that provides a blood-pumping backdrop for its tale of heartless revenge. Bloodrock 3 also plays up the progressive edge to the group’s sound that was only hinted at on previous songs like “Melvin Laid an Egg” and “D.O.A.” For instance, the album opener, “Jessica,” boasts some instrumental breaks that throw out surprisingly intricate riffs at breakneck speed. “Breach of Lease” is another prog-ish cut that runs for nine minutes, but manages to avoid wearing out its welcome through a carefully crafted arrangement that alternates eerie, quiet organ-led verses with a pulse-pounding chorus. Bloodrock also continues their Grand Funk-like attempts at social commentary with “Song for a Brother” and “America, America”:
The lyrics are a bit simplistic but are straightforward enough to get the point across and further benefit from being backed by energetic, well-arranged music. The group still has trouble with its ballads, though: “A Certain Kind” has a pretty piano-led melody but suffers from generic, mawkish love lyrics and a strained high-range vocal from Jim Rutledge. Despite occasional lapses like this, Bloodrock 3 is an effective hard rock album that boasts tight arrangements and a spirited performance by the band. It’s not for the casual listener, but anyone who enjoyed “D.O.A.” will probably enjoy this album. (by Donald A. Guarisco)
Oh yes … I enjoy this album very much !
Rick Cobb (drums, percussion, vocals)
Ed Grundy (bass, vocals)
Stephen Hill (keyboards, vocals)
Lee Pickens (guitar, vocals)
Jim Rutledge (vocals)
Nick Taylor (guitar, vocals)
01. Jessica (Nitzinger) 4.46
02. Whiskey Vengeance (Grundy/Rutledge/Cobb/Hill) 4.13
03. Song For A Brother (Hill) 5.19
04. You Gotta Roll (Rutledge/Nitzinger/Hill) 5.09
05. Breach Of Lease (Grundy/Rutledge/Nitzinger/Cobb/Hill) 9.03
06. Kool-Aid Kids (Nitzinger) 6.29
07. A Certain Kind (*) (Hopper) 4.19
08. America, America (Grundy/Cobb) 1.24
This song was originally performed by Soft Machine !
At one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.
This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.
This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.
I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.
The next two albums are devoted to Great Britain. They include examples by two neglected tenorists: Wilton “Bogey” Gaynair and Joe Harriott, both with Jamaican origins. Tubby Hayes and the Jazz Couriers deliver their usual hundred-notes-a-minute, while Johnny Dankworth’s orchestra plays some tight arrangements. (musicweb-international.com)
No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from Great Britain ! Excellent stuff !
Tubby Hayes and the Jazz Couriers feat. Ronnie Scott:
01. Royal Ascot (Hayes) 5.33
02. On A Misty Night (Dameron) 5.09
03. Cheek To Cheek (Berlin) 4.07
Johnny Dankworth & His Orchestra:
04. Treasure Drive (Dankworth) 2.44
05. Riverside Stomp (Dankworth) 3.32
06. After The Party (Dankworth) 3.34
The Dizzy Reece Quartet:
07. Main Title from “Nowhere To Go“ (Reece) 3.30
08. The Escape And The Chase (Reece) 2.46
09. The Search (On The Scene) (Reece) 3.28
10. Sunset Scene (Nowhere To Go) (Reece) 1.28
Victor Feldman Modern Jazz Quintet – Septet:
11. Umf (Reece) 7.41
12. Bird‘s Last Flight (Gray) 6.32
The Joe Harriott Quintet:
13. Straight Lines (Harriott) 5.55
14. Caravan (Ellington/Tizol) 5.31
15. Scene 59, Act 2 (Felix) 5.07
Vic Ash Sextet feat. Johhny Scott:
16. Just For The Boys (Scott) 2.59
Melody Maker Poll Winners (feat. Tubby Hayes, Ronnie Ross, Bill Le Sage):
17. Hark Dog (Moule) 5.12
Miroslav Ladislav Vitous (6 December 1947), is a Czech jazz bassist who was born in Prague. He begun play violin at age of six, started playing the piano at age ten, and bass at fourteen. He studied music at the Prague Conservatory subsequently winning an international music contest in Vienna, earning him a scholarship to the Berklee College of Music in Boston. One of his early music groups was the Junior Trio with his brother Alan on drums and young another future-great Czech fusion musician Jan Hammer on keyboards.
A year later after he came to Boston, in 1966, Miroslav moved to New York & collaborated with musicians such as Bob Brookmeyer, Chick Corea, Miles Davis, Art Farmer, Stan Getz, Charlie Mariano, and Herbie Mann. In 1970, the group WEATHER REPORT was formed along with Wayne Shorter and Joe Zawinul. After three years left the group due to musical differences. After brief break he formed Miroslav Vitous Group with John Surman, Kenny Kirkland and Jon Christensen, and recorded 3 albums for ECM. After 3 years group was disbanded.
Vitous has become a director of Jazz Department in New England Conservatory in Boston, and leads the department for 3 years. He reunited with Chick Corea and Roy Haynes (Trio Music): it was a very successful period for the trio for the following 2 and half years. Tours all over the world and 2 albums recorded for ECM is the outcome of this reunion.
After this time he made a very successful duet world wide tour with Stanley Clark.
Makes several performances as a soloist with Pittsburg Symphony Orchestra and Music of Viva of Boston.
He recorded also a solo album for ECM (“Emergence”).
In 1988 he moved back to Europe. Stopped teaching completely and became full time composer/performer, once again.
He made a lot of different projects with his band or solo, appeared at many festivals and concerts and participated in other projects with different top European musicians. After 22 years he returned to Prague and recorded an album with his brother Alan Vitous.
In March 1989 he started playing solo concerts. He wrote and performed concerts for Orchestra and solo bass in Frieburg (Germany) and Italy. Prior to the release of ‘Universal Syncopations’, he took a seven year break from performing to concentrate his efforts at making orchestral sample libraries. He was in search of electronic sounds to assist him in composing, but discovered what was available in the marketplace to be lacking in quality. As a result, Miroslav became consumed in producing the symphonic samples that he had been searching for, by sampling each solo player amongst an orchestra. “Sampling is an extremely expensive process, but allows me to compose more easily when ideas are fresh in my mind.”
The result of being able to compose with the electronic samples, brought about the release of the album ‘Universal Syncopations’. Miroslav knew beyond a doubt that Jack DeJohnette would be his drummer, since Jack was his favorite drummer for several decades and had participate in many collaborations. John McLaughlin was chosen for the work that he had done with Miles Davis in the seventies, and Miroslav wanted to tap into that evolutionary style and to take it up a notch. Chick Corea has asked for Miroslav’s help on many of his previous albums, so this time it was Corea who was asked to collaborate. Jan Garbarek is Miroslav’s favorite sax player, and they have an intuitive musical connection. This particular work captures the creative force in the sounds and motifs, and justaposes jazz and classical styles in a very open and free way. (by progarchives.com)
Master bass player Vitous doubles up on piano and moog and, together with percussionist Don Alias, creates music from fusion to samba to ambient! Includes the jazz dance classic “Bassamba”! (by soundsoftheuniverse.com)
1976-1977 sessions with Don Alias and Armen Halburian on percussion. Vitous overdubs bass and keyboards. A stunning musical trip through Afro-jazz texture music. “Tiger in the Rain” is absolutely captivating. (byMichael G. Nastos)
In other words: excellent and exciting stuff!
Don Alias (drums, percussion)
Miroslav Vitous (bass, piano, synthesizer, ARP string ensemble)
Armen Halburian (percussion (on 06.)
01. Watching The Sunset Run 8.07
02. Bassamba 3.02
03 Tiger In The Rain 9.01
04 Concerto In E Minor 5.35
05. Pictures From Moravia 4.54
06. Sonata For A Dream 5.39
Often tagged as garage rock revivalists, the Fleshtones mix the fuzz guitar and Farfisa organ sounds of that genre with rockabilly, ’50s and ’60s R&B, and surf into a potent retro stew the group likes to call “super rock.” The group formed in 1976 in Queens, New York with vocalist/keyboardist Peter Zaremba, guitarist Keith Streng, bassist Jan Marek Pakulski, and drummer Bill Milhizer and aimed to return rock & roll to the simplicity and unself-consciousness of the ’50s and early ’60s. (The group was often joined on-stage and in the studio by sax player Gordon Spaeth, who passed on in 2005.) The group fit nicely into New York’s punk and new wave scene, and an early single, “American Beat,” attracted the attention of independent label Red Star and, in time, I.R.S. The group’s debut EP, Up-Front, was released in 1980 and was followed by their first full-length album, Roman Gods, and Blast Off!, an unreleased studio album recorded for Red Star in 1978. 1983 produced Hexbreaker, widely regarded as the Fleshtones’ finest album. The band continued to record through the ’80s and released Powerstance in 1992 and Beautiful Light in 1994. (Powerstance also marked the debut of new Fleshtones bassist Ken Fox, who replaced Pakulski in the lineup and has been with the group ever since.)
While the group’s popularity dipped under the radar in the last half of the ’90s, in 2003 the group bounded back when they were signed to the potent indie label Yep Roc Records and released one of their best albums, Do You Swing? An equally solid follow-up, Beachhead, was issued in 2005 and was produced in part by Detroit garage rock kingpin Jim Diamond. Fleshtones side projects include Keith Streng’s band Full Time Men, which featured R.E.M. guitarist Peter Buck, and Peter Zaremba’s Love Delegation. In 2008, more than 30 years after the group formed, they released Take a Good Look, proving their ability to be just as raucous as they were in the good ol’ days. (by)
Man oh man, you’ve got to be some kind of ballsy dad rock bar band to think you can get away with covering “Day Tripper” on this side of the new millennium. Well, it’s a good thing the Fleshtones, circa 2011 (featuring Lenny Kaye, from the Jim Carroll Band, the Patti Smith Group and the Lenny Kaye connection) are precisely this kind of dad rock bar band. The perpetual garage rock revivalists return with more of the same fuzzy, concise, toe-tapping rockers. Brooklyn Sound Solution is comparably low-energy, weighed against the ‘Tones prime ’70s and ’80s output. But considering that they all look like uncles and college professors now, that’s to be expected. Still, tracks like “I Can’t Hide,” “Rats in the Kitchen” and Kaye’s sole songwriting contribution, “Lost on Xandu,” reward repeated listens. They may not be quite as vibrant, but the Fleshtones still sound good. Sure, they’re old, but they’re better than the Stones. (by John Semley)
“Pardon us for living, but the graveyard is full.” or so goes the title of a new documentary film telling the tale of The Fleshtones. While that sentiment is a bit tongue-in-cheek, it’s also true. The Fleshtones have been grinding out garage rock before garage rock was even called garage rock, and turning rock clubs like Max’s Kansas city into impromptu discos for over 30 years. While chart hits and magazine covers weren’t to be their fate; a reputation as the hardest working, most sincere rock band on the planet was cultivated in the process. The result of that distinction is their new album ‘Brooklyn Sound Solution’ featuring the legendary Lenny Kaye. In addition to his role as long-time guitarist for Patti Smith, Kaye also curated the seminal garage and psychedelic music compilations nuggets. Have a problem you can’t solve? The Fleshtones offer you a ‘Brooklyn Sound Solution’. (by roughtrade.com)
Ken Fox (bass, vocals)
Bill Milhizer (drums, percussion, vocals)
Keith Streng (vocals, guitar)
Peter Zaremba (vocals, keyboards, harmonica)
Steve Greenfield (saxophone)
Lenny Kaye (guitar)
Matt Verderay (vibraphone)
background vocals on 09.:
Anne Streng – Dave Faulkner – Phast Phreddie
01. Comin’ Home Baby (Tucker/Dorough) 2.45
02. I Wish You Would (Arnold) 2.41
03. Day Tripper (Lennon/McCartney) 2.41
04. Bite Of My Soul (Zaremba) 2.37
05. You Give Me Nothing To Go On (Instrumental Version) (Taylor) 2.24
06. Lost On Xandu (Kaye) 3.05
07. I Can’t Hide (Parker) 2.21
08. Solution #1 (Streng) 2.45
09. Rats In My Kitchen (Estes) 2.03
10. Back Beat #1 (J. Petze/L. Petze/Collins/Pizze) 1.53
11. You Give Me Nothing To Go On (Taylor) 2.12
12. Solution #2 (Zaremba) 2.11
St Germain is the stage name of Ludovic Navarre), born 10 April 1969 in Boulogne-Billancourt, a French musician. His style has been described as being a combination of house and nu jazz music.
Navarre’s album Boulevard was released in July 1995 and has sold over 1 million copies worldwide. His United States debut, Tourist, was released in 2000 and sold 300,000 copies in the USA and 4 million copies worldwide. Bob Marley, Toots & the Maytals, Miles Davis and Kool and the Gang are among Ludovic’s early influences. He composed his first work under the name of Sub System with friend Guy Rabiller. He has released EPs under a number of aliases, among them Deepside, LN’S, Modus Vivendi, Nuages and Soofle.
St Germain is not associated with the Saint-Germain-des-Prés Café compilation series, though his song “Deep in It” is featured on its “Volume 1”.
His song “Rose Rouge” was featured in the official movie trailer for Joss Whedon’s 2013 Much Ado About Nothing.
His eponymous album, released on 9 October 2015, was recorded with the participation of African musicians, the album features traditional Malian instruments such as kora, balafon and n’goni, that mingle with electric guitars, pianos, saxophones and electronic loops. The first single, “Real Blues”, sets the voice of Lightnin’ Hopkins to the beat of wild, fiery drums and percussion.
The original single sleeve is decorated with a 3D mask conceived by Urban Art creator Gregos, known for his smiling and frowning faces stuck on walls throughout Paris and Europe.
St Germain was included in the line-up for Coachella 2016.
Tourist is the third studio album by French producer Ludovic Navarre, released under his stage name St Germain. The album’s musical style is described by AllMusic as “a synthesis of electronics with jazz soloing”.
As of 2018, Tourist has sold over four million copies worldwide.
Tourist formed the soundtrack of the 2001 French film Chaos. (by wikipedia)
Since the advent of acid jazz in the mid-’80s, the many electronic-jazz hybrids to come down the pipe have steadily grown more mature, closer to a balanced fusion that borrows the spontaneity and emphasis on group interaction of classic jazz while still emphasizing the groove and elastic sound of electronic music. For his second album, French producer Ludovic Navarre expanded the possibilities of his template for jazzy house by recruiting a sextet of musicians to solo over his earthy productions. The opener “Rose Rouge” is an immediate highlight, as an understated Marlena Shaw vocal sample (“I want you to get together/put your hands together one time”), trance-state piano lines, and a ride-on-the-rhythm drum program frames solos by trumpeter Pascal Ohse and baritone Claudio de Qeiroz.
For “Montego Bay Spleen,” Navarre pairs an angular guitar solo by Ernest Ranglin with a deep-groove dub track, complete with phased effects and echoey percussion. “Land Of…” moves from a Hammond- and horn-led soul-jazz stomp into Caribbean territory, marked by more hints of dub and the expressive Latin percussion of Carneiro. Occasionally, Navarre’s programming (sampled or otherwise) grows a bit repetitious — even for dance fans, to say nothing of the jazzbo crowd attracted by the album’s Blue Note tag. Though it is just another step on the way to a perfect blend of jazz and electronic, Tourist is an excellent one (by John Bush)
Edmundo Carneiro (percussion)
Alexandre Destrez (keyboards)
Idrissa Diop (talking drum)
Edouard Labor (saxophone, flute)
Pascal Ohsé (trumpet)
Claudio De Queiroz (saxophone)
Ernest Ranglin (guitar on 02.)
Produced and arranged by Ludovic Navarre
01. Rose Rouge 7.02
02. Montego Bay Spleen 5.42
03. So Flute 8.29
04. Land Of … 7.50
05. Latin Note 5.57
06. Sure Thing 6.22
07. Pont des Arts 7.25
08. La Goutte d’Or 6.17
09. What You Think About … 4.48
Carlos Bica, born in Lisbon (Portugal) and currently living in Berlin (Germany), is a double bass player and composer.
Bica studied at the Academia dos Amadores de Musica in Lisbon and the Hochschule für Musik in Würzburg. He was “Musician of the Year” in Portugal in 1998. He has played at important jazz festivals across Europe and Asia.
He has also composed for several theatres as well as dance and film productions. He worked for many years with Portuguese vocalist Maria João – a cooperation that established him on the international scene. He has also worked with the likes of Portuguese Fado singers Carlos do Carmo, Camané, Cristina Branco, Ana Moura, José Mário Branco, and jazz musicians Ray Anderson, Kenny Wheeler, Aki Takase, Paolo Fresu, Julian Argüelles, Frank Möbus, Jim Black, Steve Argüelles, Lee Konitz, Mário Laginha, Matthias Schubert, João Paulo Esteves da Silva, Markus Stockhausen, Antonio Pinho Vargas, Alexander von Schlippenbach among others. (by wikipedia)
This is the follow-up to Carlos Bica’s widely acclaimed best-selling album “Azul” that earned delighted reviews everywhere and was voted Jazz Album of the Year in Portugal. The band played big European festivals (e.g. Lissabon, Berlin, Nuremberg) and did several radio productions. Bridging Portuguese roots with creative freedom à la Knitting Factory, Azul gives a new and airy definition of guitar trio aesthetics.
Bassist Carlos Bica, one of Portugal’s premiere jazz musicians, teams up with drummer Jim Black and electric guitarist Frank Möbius for a zany yet accessible romp through a musical landscape that runs the gamut, from the serene hills of 16th century art song to the beaches of tongue-in-cheek surf music. Bica has a fat, gorgeous cello-romantic tone, perfect when bowed on the opening tango, “Roses for You,” and “Paixao.” Fans of the Portuguese group Madredeus will be familiar with the faraway, melancholy tone of many of the tunes here, not to mention pleasantly surprised by Black’s snickety-snackety ingenuity and Möbius’ shimmering, Bill Frisell-inspired guitar. The ballad, “Sera,” strikes a beautiful balance between arco bass and single-note guitar, the evocative “O Profeta” evolves into waltz-time swing, and the obsessive “Pastilha Elástica” veers toward a jazz/rock trio sound. Actress Ana Brandão contributes a clarion vocal on the pretty renaissance song “Ay! Linda Amiga” (reprised as an instrumental at disc’s end) and a quite wonderfully theatrical and existential delivery of a poem by the Portuguese national poet, Pessoa. A hidden, unlisted take on “Tea for Two” lurks after the last track. Sweet stuff. (by Paul De Barros)
“Azul has a great spectrum – not at least because the musicians represent very different musical cultures thanks to their origins. This results in an emotionally stamped searching for new sounds” (A Capital, Portugal). “Each member of the trio is exciting as a soloist, accompanist and musical painter. Fusion sounds are locked out. Nevertheless (or just because of that) the music sounds fresh, unused and – beautiful” (Zitty, Germany).
“The musicians dare to leave open spaces – one of the most obvious strenghts of the trio. Southern lightness, highly energetic density, humorous playfulness, dramatical heaviness – all that comes together for a stimulating palette of blue shades” (Jazzthetik, Germany).
Carlos Bica (bass)
Jim Black (drums, percussion)
Frank Möbus (guitar)
Ana Brandão (vocals on 03. + 08.)
01. Roses For You (Bina) 4.06
02. Perfume (Bina) 7.25
03. Ser Pessoa (Bina) 1.14
04. O Profeta (Bina) 7.34
05. Pastilha Elástica (Möbus) 3.34
06. Será (Bina) 3.37
07 D.D. From B. (Bina) 4.37
08. Ay! Linda Amiga (Traditional) 6.24
09. Paixão (Bina) 7:31
10. Twist (Bina) 3.47
11 Ay! Linda Amiga (II) (Traditional) 1.30
12 [hidden silent track] 0.04
13 [hidden silent track] 0.05
14 [hidden silent track] 0.06
15 [hidden silent track] 0.10
16 [hidden silent track] 0.05
17 [hidden silent track] 0.05
18 [hidden silent track] 0:06
19 [hidden silent track] 0.19
20. Tea For Two (hidden bonus track) (Bina) 3.46