Lightnin´ Hopkins – Lightnin´ Strikes (1962)

LPFrontCover1Samuel John “Lightnin'” Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time.

The musicologist Robert “Mack” McCormick opined that Hopkins is “the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act”.

Hopkins was born in Centerville, Texas, and as a child was immersed in the sounds of the blues. He developed a deep appreciation for this music at the age of 8, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was “in him”. He went on to learn from his older (distant) cousin, the country blues singer Alger “Texas” Alexander. (Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.) Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except young Hopkins, and Hopkins learned much from Jefferson at these gatherings.

Hopkins-Goldstar-PromoIn the mid-1930s, Hopkins was sent to Houston County Prison Farm; the offense for which he was imprisoned is unknown. In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand.

Hopkins took a second shot at Houston in 1946. While singing on Dowling Street in Houston’s Third Ward (which would become his home base), he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles. She convinced Hopkins to travel to Los Angeles, where he accompanied the pianist Wilson Smith. The duo recorded twelve tracks in their first sessions in 1946. An Aladdin executive decided the pair needed more dynamism in their names and dubbed Hopkins “Lightnin'” and Wilson “Thunder”.

Hopkins recorded more sides for Aladdin in 1947. He returned to Houston and began recording for Gold Star Records. In the late 1940s and 1950s he rarely performed outside Texas, only occasionally traveling to the Midwest and the East for recording sessions and concert appearances. It has been estimated that he recorded between eight hundred and a thousand songs in his career. He performed regularly at nightclubs in and around Houston, particularly on Dowling Street, where he had been discovered by Aladdin. He recorded the hit records “T-Model Blues” and “Tim Moore’s Farm” at SugarHill Recording Studios in Houston. By the mid- to late 1950s, his prodigious output of high-quality recordings had gained him a following among African Americans and blues aficionados.[

In 1959, the blues researcher Mack McCormick contacted Hopkins, hoping to bring him to the attention of a broader musical audience engaged in the folk revival. McCormack presented Hopkins to integrated audiences first in Houston and then in California. He made his debut at Carnegie Hall on October 14, 1960, alongside Joan Baez and Pete Seeger, performing the spiritual “Mary Don’t You Weep”. In 1960, he signed with Tradition Records. The recordings which followed included his song “Mojo Hand” in 1960.


In 1968, Hopkins recorded the album Free Form Patterns, backed by the rhythm section of the psychedelic rock band 13th Floor Elevators. Through the 1960s and into the 1970s, he released one or sometimes two albums a year and toured, playing at major folk music festivals and at folk clubs and on college campuses in the U.S. and internationally. He toured extensively in the United States and played a six-city tour of Japan in 1978.

Hopkins was Houston’s poet-in-residence for 35 years. He recorded more albums than any other bluesman.

Hopkins died of esophageal cancer in Houston on January 30, 1982, at the age of 69. His obituary in the New York Times described him as “one of the great country blues singers and perhaps the greatest single influence on rock guitar players.”

His Gibson J-160e “hollowbox” is on display at the Rock Hall of Fame in Cleveland, and his Guild Starfire at the National Museum of African American History and Culture in DC, both on loan from the Joe Kessler collection.


Hopkins’s style was born from spending many hours playing informally without a backing band. His distinctive fingerstyle technique often included playing, in effect, bass, rhythm, lead, and percussion at the same time. He played both “alternating” and “monotonic” bass styles incorporating imaginative, often chromatic turnarounds and single-note lead lines. Tapping or slapping the body of his guitar added rhythmic accompaniment.

Much of Hopkins’s music follows the standard 12-bar blues template, but his phrasing was free and loose. Many of his songs were in the talking blues style, but he was a powerful and confident singer.[citation needed] Lyrically, his songs expressed the problems of life in the segregated South, bad luck in love and other subjects common in the blues idiom. He dealt with these subjects with humor and good nature. Many of his songs are filled with double entendres, and he was known for his humorous introductions to songs. (wikipedia)


Lightnin’ Strikes is an album by blues musician Lightnin’ Hopkins recorded in Texas in 1962 and released on the Vee-Jay label.

The Penguin Guide to Blues Recordings said “Creatively speaking, this is Lightnin’ on no more than good form, rising to very good indeed in “Walking Round in Circles”, but the sonic effects lend the music a strangeness that some listeners may find attractive”.[4] AllMusic reviewer Cub Coda stated: “This brings together some early-’60s sides that Hopkins recorded for the Chicago-based Vee-Jay label, although all of them were recorded in his native Houston. … two are full-band tracks produced by drummer King Ivory Lee Semiens with Lightnin’ playing electric, the band following his erratic timing as best as they can”.(wikipedia)


Lightnin’ Hopkins (guitar, vocals=
a bunch of unknown studio musicians

Original front + backcover from Verve reords:

01. Got Me A Louisiana Woman (Hopkins/Semien) 3.01
02. Want To Come Home (Quinn/Cullen) 3.57
03. Please Don’t Quit Me (Quinn/Cullen) 3.13
04. Devil Is Watching You (Quinn/Cullen) 4.01
05. Rolling And Rolling (Quinn/Cullen) 3.01
06. War Is Starting Again (Hopkins/Semien) 3.07
07. Walkin’ Round In Circles (Quinn/Cullen) 3.10
08. Mary Lou (Quinn/Cullen) 3.16
09. Heavy Snow (Quinn/Cullen) 3.35
10. Coon Is Hard To Catch (Quinn/Cullen) 4.17



Samuel John “Lightnin'” Hopkins (March 15, 1912 – January 30, 1982)

Andre Previn and J.J. Johnson – Play Kurt Weill (1962)

FrontCover1André George Previn KBE (born Andreas Ludwig Priwin; April 6, 1929 – February 28, 2019) was a German-American pianist, composer, arranger, and conductor.

His career was three-pronged. Starting by arranging and composing Hollywood film scores for Metro-Goldwyn-Mayer, Previn was involved in the music for over 50 films over his entire career. He won four Academy Awards for his film work and ten Grammy Awards for his recordings (and one more for his Lifetime Achievement). He was also the music director of the Houston Symphony Orchestra, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic, and the Oslo Philharmonic, as well as the principal conductor of the London Symphony Orchestra and the Royal Philharmonic Orchestra. In jazz, Previn was a pianist-interpreter and arranger of songs from the Great American Songbook, was piano-accompanist to singers of jazz standards, and was a trio pianist.

James Louis Johnson (January 22, 1924 – February 4, 2001) was an American jazz trombonist, composer and arranger.

Johnson was one of the earliest trombonists to embrace bebop.

J.J. Johnson with trombone

André Previn and J. J. Johnson (subtitled Play Kurt Weill’s Mack the Knife & Bilbao-Song and Other Music from The Threepenny Opera, Happy End, Mahagonny) is an album by pianist André Previn and trombonist J. J. Johnson performing Kurt Weill’s compositions which was released on the Columbia label. (by wikipedia)

André Previn

Previn intersected most notably with Weill on a 1961 LP, André Previn and J.J. Johnson Play Kurt Weill’s Mack the Knife and Barbara-Song and Other Music from Threepenny Opera, Happy End and Mahagonny (the combo also included Red Mitchell on bass and drummer Frank Capp). Actually the disc held six more tracks: “Bilbao-Song,” the Overture to The Threepenny Opera, “Seeräuberjenny,” “Surabaya-Johnny,” “Wie man sich bettet,” and “Lied von der Unzulänglichkleit menschlichen Strebens.” Some of Weill’s songs had become jazz standards by then, but an entire album devoted to Weill’s music was unusual to say the least. (It has been reissued on CD as Lonehill Jazz LHJ10376.) Around the same time, Previn recorded “Lost in the Stars” as piano soloist with orchestra; years later he accompanied Kiri Te Kanawa on a 1991 disc that included “It Never Was You.”

Kurt Weill

Undoubtedly Previn’s advocacy gave Weill a push among jazz musicians, particularly in reaching past “Mack the Knife” and exploring other music from Weill’s Berlin years. Previn was in fact born in Berlin in 1929, and it is tempting to imagine that Weill’s music was some of the first he heard as a young child in a city intoxicated with the Threepenny Opera. (New York Times, Feb. 28, 2019)


Frank Capp (drums)
J. J. Johnson (trombone)
Red Mitchell (bass)
André Previn (piano)

Alternate front + backcover:

01. Bilbao Song (from Happy End) 4.24
02. Barbara Song (from The Threepenny Opera) 6.27
03. Overture (from The Threepenny Opera) 5.21
04. Seeräuberjenny” – 4:20 (from The Threepenny Opera)
05. Mack The Knife (Moritat) 5.19
06. Surabaya Johnny (from Happy End) 4.27
07. Wie man sich bettet (“Meine Herren, meine Mutter prägte” from Rise and Fall of the City of Mahagonny) 6.28
08. Unzulänglichkeit (from The Threepenny Opera) 5.14

All compositions by Kurt Weill




The Isley Brothers – Twist And Shout (1962)

FrontCover1The Isley Brothers  are an American musical group originally from Cincinnati, Ohio, that started as a vocal trio consisting of brothers O’Kelly Isley Jr., Rudolph Isley and Ronald Isley. The group has been cited as having enjoyed one of the “longest, most influential, and most diverse careers in the pantheon of popular music”.

Together with a fourth brother, Vernon, the group performed gospel music until Vernon’s death a few years after its formation. After moving to the New York City area in the late 1950s, the group had modest chart successes during their early years, first coming to prominence in 1959 with their fourth single, “Shout”, written by the three brothers. Initially a modest charted single, the song eventually sold over a million copies. Afterwards the group recorded for a variety of labels, including the top 20 single, “Twist and Shout” and the Motown single “This Old Heart of Mine (Is Weak for You)”, before recording and issuing the Grammy Award-winning hit “It’s Your Thing” on their own label, T-Neck Records.

Influenced by gospel and doo-wop music, the group began experimenting with different musical styles incorporating elements of rock and funk as well as pop balladry. The inclusion of younger brothers Ernie Isley (lead guitar, drums) and Marvin Isley (bass guitar), and Rudolph’s brother-in-law Chris Jasper (keyboards, synthesizers), in 1973 turned the original vocal trio into a complete band. For the next full decade, they recorded top-selling albums including The Heat Is On and Between the Sheets.


The six-member band splintered in 1983, with Ernie, Marvin, and Chris Jasper forming the short-lived spinoff group Isley-Jasper-Isley. The oldest member, O’Kelly, died in 1986 and Rudolph and Ronald released a pair of albums as a duo before Rudolph retired to a life in the Christian ministry in 1989. Ronald reconvened the group two years later in 1991 with Ernie and Marvin; five years later, in 1996, Marvin Isley left the group due to complications of diabetes. The remaining duo of Ronald and Ernie achieved mainstream success with the albums Mission to Please (1996), Eternal (2001) and Body Kiss (2003). Eternal spawned the top twenty hit “Contagious”. As of 2019, the Isley Brothers continue to perform under the lineup of Ronald and Ernie.


The Isley Brothers have had four Top 10 singles on the United States Billboard chart. With their first major hit charting in 1959 (“Shout”), and their last one in 1996 (“Down Low”), they are among the few groups ever to have hit the Billboard Hot 100 with new music in five different decades. Sixteen of their albums charted in the Top 40. Thirteen of those albums have been certified gold, platinum or multi-platinum by the RIAA. The brothers have been honored by several musical institutions, including the Rock and Roll Hall of Fame, which inducted them in 1992. Five years later, they were added to Hollywood’s Rockwalk, and in 2003 they were inducted to the Vocal Group Hall of Fame.[They received the Grammy Lifetime Achievement Award in 2014.


Twist & Shout is the second studio album released by The Isley Brothers on the Wand label in 1962. Their second album after Shout! three years prior, the album was released on the success of the title track, which would later be covered by The Beatles more than a year later for their own hit version. Other stand-outs in the album include Isley-penned tracks such as “Right Now”, “Nobody but Me” and the charter, “Twistin’ with Linda”.

In 1964 the record label rereleased & renamed Twist & Shout album as Take Some Time Out for The Famous Isley Brothers due to the popularity of the Beatles “Twist & Shout” version of the same year.
The cover of Take Some Time Out for The Famous Isley Brothers picture of the trio performing in a night club. (by wikipedia)


On this album, the Isleys tried to mine the “Twist & Shout” groove for all it was worth. Produced by Bert Berns, over half the material was written or co-written by “Russell” — the same Russell who co-wrote “Twist and Shout,” which was a pseudonym for Berns himself. Not that this was necessarily a bad thing. “Twist and Shout” was a stone classic, and many of the other tunes do their best to emulate its groove with Latin rhythms and the Isleys’ frayed, gospelish vocals. Some of the tracks, though, do little more than rework the basic riff, and even the ones that aren’t blatant rewrites don’t measure up to the hit. The ballad “Time After Time” is a nice change of pace, and the brothers are never less than energetic and entertaining, but this is really not that strong as a whole. (by Richie Unterberger)


O’Kelly Isley, Jr (background vocals)
Ronald Isley (vocals)
Rudolph Isley (background vocals)
a bunch of unknown studio musicians

Alternate frontcover:

01. Twist And Shout (Medley/Russell) 2,34
02. I Say Love (Medley/Russell) 2.05
03. Right Now (Jasper) 3.13
04. Hold On Baby (Medley/Russell) 2.21
05. Rubber Leg Twist (Nelson/Jasper) 2.01
06. The Snake (Jasper) 2.13
07. You Better Come Home (Russell) 2.18
08. Never Leave Me Baby (Russell/Medley) 2.21
09. Spanish Twist (Russell) 2.28
10. Time After Time (Styne/Cahn) 2.37
11. Let’s Twist Again (Mann/Appell) 2.10
12. Don’t You Feel (Russell/Drowty) 3.06



Bud Shank & Clare Fischer – Bossa Nova Jazz Samba (1962)

FrontCover1Clifford Everett “Bud” Shank, Jr. (May 27, 1926 – April 2, 2009) was an American alto saxophonist and flautist. He rose to prominence in the early 1950s playing lead alto and flute in Stan Kenton’s Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. He spent the 1960s as a first-call studio musician in Hollywood. In the 1970s and 1980s, he performed regularly with the L. A. Four. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. He also recorded on tenor and baritone sax. His most famous recording is probably the version of Harlem Nocturne used as the theme song in Mickey Spillane’s Mike Hammer. He is also well known for the alto flute solo on the song “California Dreamin'” recorded by The Mamas & the Papas in 1965.

Bud ShankDouglas Clare Fischer (October 22, 1928 – January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo’s in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard “Morning”, and the jazz standard “Pensativa”. Consistently cited by jazz pianist and composer Herbie Hancock as a major influence (“I wouldn’t be me without Clare Fischer”[3]), he was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, 2+2 (1981), the first of Fischer’s records to incorporate the vocal ensemble writing developed during his Hi-Lo’s days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer’s three-decade-long collaboration with his son Brent. Fischer was also a posthumous Grammy winner for ¡Ritmo! (2012) and for Music for Strings, Percussion and the Rest (2013).

Beginning in the early 1970s, Brent Fischer embarked on a parallel (and far more lucrative) career, eventually becoming a much sought-after arranger, providing orchestral “sweeteners” for pop and R&B artists such as Rufus (with Chaka Khan), Prince Clare Fischer(a regular client from 1984 onwards, and by far Fischer’s most frequent in pop music), Robert Palmer, Paul McCartney, Michael Jackson, Celine Dion, Elvis Costello & The Roots, D’Angelo song Really Love from the album Black Messiah Grammy-winner (2016) for best R&B album, Sheila E, and many others. (by wikipedia)

And Bossa Nova Jazz Samba is an album by voth musicians released on the Pacific Jazz label.

This is a superb collaboration from 1962 …  With a breathy sax, lively and present piano, clarity, space and timbral accuracy, this is guaranteed to be one of the finest sounding jazz records you’ve heard
A wonderful Bossa Nova classic that shows you just how lovely this music can sound …

In other words: A forgotten masterpeiece !


Clare Fischer (piano)
Ralph Pena (bass)
Bud Shank (saxophone)
Larry Bunker – Frank Guerrero – Milt Holland – Bob Neel


01. Samba da Borboleta 3.36
02. Illusao 3.24
03. Pensativa 3.32
04. Joao 3.58
05. Misty 2.39
06. Que Mais? 4.00
07. Wistful Samba 4.19
08. Samba Guapo 4.27

Music composed by Claire Fisher,
except 05, which was composed by Erroll Garner



Cannonball Adderley – In New York (1962)

LPFrontCover1The 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




Julian Edwin “Cannonball” Adderley
(September 15, 1928 – August 8, 1975)

Herbie Hancock – Takin’ Off (1962)

FrontCover1Takin’ Off is the debut album by jazz pianist Herbie Hancock released in 1962 by Blue Note Records. The recording session features Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. The album is in the hard bop idiom, with its characteristic two horns and a rhythm section. The bluesy track “Watermelon Man” made it to the Top 100 of the singles charts, and went on to become a jazz standard. The album has been called “one of the most accomplished and stunning debuts in the annals of jazz.”[7] It was released on CD in 1996 with three alternate takes and then remastered in 2007 by Rudy Van Gelder. The 2007 edition includes new liner notes by Bob Blumenthal. (b wikipedia)

Herbie Hancock’s debut as a leader, Takin’ Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note’s prototype hard bopper Horace Silver. Yet while Hancock could be just as funky and blues-rooted as Silver, their overall styles diverged in several ways: Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect, Takin’ Off is among Hancock’s most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy “Watermelon Man,” which became a Hancock signature tune and a jazz standard in the wake of a hit cover by Latin jazz star Mongo Santamaria.


Hancock’s original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too (if not quite hit material); all have their moments, but particular highlights include the ruminative ballad “Alone and I,” the minor-key “The Maze” (which features a little bit of free improvisation in the rhythm section), and the bluesy “Empty Pockets.” The backing group includes then up-and-coming trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. All in all, Takin’ Off is an exceptional first effort, laying the groundwork for Hancock to begin pushing the boundaries of hard bop on his next several records. (by Steve Huey)


Dexter Gordon (saxophone)
Herbie Hancock (piano)
Billy Higgins (drums)
Freddie Hubbard (trumpet)
Butch Warren (bass)

01. Watermelon Man 7.09
02. Three Bags Full 5.27
03. Empty Pockets 6.12
04. The Maze 6.49
05. Driftin’ 6.58
06. Alone and I 6.30
07. Watermelon Man (alternate take) 6.35
08. Three Bags Full (alternate take) 5.32
09. Empty Pockets (alternate take) 6.28

Music composed by Herbie Hancock.



This album brought Herbie to the attention of Miles Davis, who was looking for a keyboard player at the time.

He then joined the Miles Davis Quintet in 1963, with whom he remained for five years, whilst continuing to release his solo material for Blue Note Records.


King Curtis – Soul Twist (1962)

FrontCover1.jpgCurtis Ousley (born Curtis Montgomery; February 7, 1934 – August 13, 1971), who performed under the stage name King Curtis, was an American saxophonist known for rhythm and blues, rock and roll, soul, blues, funk and soul jazz. Variously a bandleader, band member, and session musician, he was also a musical director and record producer. Adept at tenor, alto, and soprano saxophone, he played riffs and solos on such hit singles as “Respect” by Aretha Franklin, and “Yakety Yak” by The Coasters (the latter of which later became the inspiration for Boots Randolph’s “Yakety Sax”) and his own “Memphis Soul Stew”

R&B tenor sax great King Curtis recorded for a variety of labels during his career, including stints at Capitol and Atlantic, but what is arguably his finest session came for Bobby Robinson’s Harlem-based label Enjoy Records in 1962. Curtis apparently regarded this as a trial run, since he left Enjoy without signing a contract that same year, in spite of having “Soul Twist” sitting on top of the R&B charts.


Whatever the chemistry was at these sessions (the complete results of which are included here), Robinson managed to convince Curtis not to blow the house down every second of every track, and the ensemble feel that emerged between the saxophonist and organ player Ernie Hayes and guitarists Billy Butler and Joe Richardson is strong, loose, and darn near perfect. Featuring mostly instrumentals, the Enjoy sessions spotlight a studio band (billed as the Noble Knights) that has a little of the same magic that would later make Booker T. & the MG’s so special, a certain soulful exactness, and yet still loose enough to swing. “Soul Twist” is a classic. Curtis’ strong, stuttering tenor sax is a major part of why things work, but these 15 cuts are solidly a group effort, and King Curtis never really bettered the feel he found with these musicians. because King Curtis never sounded better or more relaxed … King Curtis never sounded better or more relaxed. (by Steve Leggett)


King Curtis (saxophone)
The Noble Knights ‎ (a bunch of unknown studio musicians)


01. Soul Twist King (Curtis) 2.51
02. Twisting Time (Curtis) 2.44
03. What’d I Say (Charles) 2.29
04. I Know (George) 2.54
05. Sack O’ Woe Twist (Adderley) 2.40
06. Camp Meetin’ (Ousley/Pierce) 2.35
07. Wobble Twist (Curtis) 2.34
08. Irresistible You (Kasha/Dixon) 2.54
09. Big Dipper (Curtis) 3.06
10. Twisting With The King (Curtis) 2.47
11. Midnight Blue (Ousley/Butler) 5.36



King Curtis (February 7, 1934 – August 13, 1971)

Curtis was stabbed on August 13, 1971, during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment. Curtis was attempting to carry an air conditioner into his apartment when Juan Montanez refused to move from the entrance. A fight ensued and Montanez stabbed Curtis. Curtis was transferred to Roosevelt Hospital, where he died. (by wikipedia)

Cal Tjader – Plays The Contemporary Music Of Mexico And Brazil (1962)

FrontCover1.jpgCal Tjader Plays the Contemporary Music of Mexico and Brazil is a 1962 studio album by Cal Tjader.

This 1962 set by Cal Tjader, recorded at the beginning of the bossa nova craze in the United States (released in the same year and on the same label as the smash Jazz Samba by Stan Getz and Charlie Byrd), has one of the most boring titles imaginable, and it doesn’t begin to describe the laid-back yet magical innovations in the grooves. Produced by Creed Taylor, the date was arranged and orchestrated by the great pianist Clare Fischer (who also wrote the liner notes). Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as Elisete Cardoso and João Gilberto. Tjader’s vibes are placed in juxtaposition with Fischer’s piano and percussion by Changuito, Milt CalTjader01Holland, and Johnny Rae, with a woodwind section that included both Don Shelton and Paul Horn, and even some wordless exotica vocals by Ardeen DeCamp. In addition, Brazilian guitar star Laurindo Almeida helps out on about half the set and contributed “Chôro e Batuque,” while Fischer offers “Elisete,” named for the singer. The feel here is gentle with infectious rhythms and beautifully wrought woodwinds (check “Se é Tarde, Me Perdoa”), gorgeous piano, and spacious vibes. The arrangements by Fischer certainly represent the era, but they endure into the 21st century because of the shining example of interplay between the percussion and melodies (note the breezy “Silenciosa”). Tjader had been playing samba on records for a number of years by this point, and worked with Getz in 1957, but this was the first place he allowed his own complex yet delightfully subtle melodic (rather than just rhythmic) sensibilities to shine on the vibes. The most remarkable thing about this set is how effortlessly the two traditions blend. (by Thom Jurek)

Recorded in Hollywood, Calif., March 5, 6 and 7, 1962


Laurindo Almeida (guitar)
Ardeen de Camp (vocals)
Changuito (percussion)
Clare Fischer (piano)
Milt Holland (percussion)
Johnny Rae (drums, timbales)
Freddie Schreiber (bass)
Cal Tjader (vibraphone)
Bernie Fleischer – Don Shelton – Gene Cipriano – John Lowe – Paul Horn


01. Vai Querer (Almeida/Lobo) 3.04
02. Qué Tristeza (Armengol) 2.50
03. Meditação (Meditation) (Mendonça/Jobim/Gimbel) 3.33
04. Soñé (Armengol) 3.09
05. Se é Tarde, Me Perdoa (Bôscoli/Lyra) 2.51
06. Não Diga Nada (Carlita/Mercenes) 2.48
07. Silenciosa (Armengol) 3.28
08. Elizete (Fischer) 2.31
09. Imagen (Armengol) 2.41
10. Tentaço do Incoveniente (da Conceição/Mesquita) 2.33
11. Preciosa (Armengol) 2.41
12. Chôro e Batuque (Almeida) 5.02



Callen Radcliffe Tjader, Jr. (July 16, 1925 – May 5, 1982)

Roy Eldridge & Bud Freeman with The Elmer Snowden Sextet – Saturday Night Fish Fry (1966)

FrontCover1.JPGHere´s a great album of two giants from the early days of Jazz:

David Roy Eldridge (January 30, 1911 – February 26, 1989), nicknamed “Little Jazz”, was an American jazz trumpet player. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the dominant style of jazz trumpet innovator Louis Armstrong, and his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop.

Lawrence “Bud” Freeman (April 13, 1906 – March 15, 1991) was an American jazz musician, bandleader, and composer, known mainly for playing the tenor saxophone, but also able at the clarinet. He had a smooth and full tenor sax style with a heavy robust swing. He was one of the most influential and important jazz tenor saxophonists of the big band era. His major recordings were “The Eel”, “Tillie’s Downtown Now”, “Crazeology”, “The Buzzard”, and “After Awhile”, composed with Benny Goodman. (by wikipedia)

And here´s their wild trumpet & saxophone show … not too far away from Rock N Roll … one for money, two for the show … a real crazy mixture between Jazz and Rock N Roll !

A forgotten jewel in the history of Jazz, believe me !

Recorded in New York City, February 1 – 2, 1962


Roy Eldridge (trumpet, vocals)
Bud Freeman (saxophone)
Tommy Bryant (bass)
Ray Bryant (piano)
Jo Jones (drums)
Elmer Snowden (banjo, guitar)

01. One For The Money (Beryl) 5.41
02. Loveless Love (Handy) 5.28
03. Saturday Night Fish Fry (Walsh/Jordan) 5.47
04. School Days (Edwards/Cobb) 4.58
05. Basin Street Blues (Williams) 4.18
06. My Blue Heaven (Whiting/Donaldson) 5.29


* (temporally offline)

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German review (Der Spiegel, July 24, 1967

Louis Armstrong And His All Stars – En Concert Avec Europe 1. Olympia 24 Avril 1962 (1992)

FrontCover1.jpgBy the 1950s, Armstrong was a widely beloved American icon and cultural ambassador who commanded an international fanbase. However, a growing generation gap became apparent between him and the young jazz musicians who emerged in the postwar era such as Charlie Parker, Miles Davis, and Sonny Rollins. The postwar generation regarded their music as abstract art and considered Armstrong’s vaudevillian style, half-musician and half-stage entertainer, outmoded and Uncle Tomism, “… he seemed a link to minstrelsy that we were ashamed of.”[61] He called bebop “Chinese music”. While touring Australia, 1954, he was asked if he could play bebop. “Bebop?” he husked. “I just play music. Guys who invent terms like that are walking the streets with their instruments under their arms.”[63] “Mack the Knife” was released in 1956. Record of Armstrong’s visit to Brazil, 1957. In June 1950, Suzy Delair performed rehearsals of the song “C’est si bon” with Aimé Barelli and his Orchestra at the Monte Carlo casino where Louis Armstrong was finishing the evening. Armstrong enjoyed the song and he recorded the American version in New York City on June 26, 1950. In the 1960s, he toured Ghana and Nigeria.[64][65] After finishing his contract with Decca Records, he became a freelance artist and recorded for other labels.[66][67] He continued an intense international touring schedule, but in 1959 he suffered a heart attack in Italy and had to rest.

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In 1964, after over two years without setting foot in a studio, he recorded his biggest-selling record, “Hello, Dolly!”, a song by Jerry Herman, originally sung by Carol Channing. Armstrong’s version remained on the Hot 100 for 22 weeks, longer than any other record produced that year, and went to No. 1 making him, at 62 years, 9 months and 5 days, the oldest person ever to accomplish that feat. In the process, he dislodged the Beatles from the No. 1 position they had occupied for 14 consecutive weeks with three different songs.[69] External audio Louis Daniel Armstrong talks with Studs Terkel on WFMT; 1962/6/24, 33:43, Studs Terkel Radio Archive. Armstrong kept touring well into his 60s, even visiting part of the communist bloc in 1965. He also toured Africa, Europe, and Asia under the sponsorship of the US State Department with great success, earning the nickname “Ambassador Satch” and inspiring Dave Brubeck to compose his jazz musical The Real Ambassadors.

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By 1968, he was approaching 70 and his health began to give out. He suffered heart and kidney ailments that forced him to stop touring. He did not perform publicly at all in 1969 and spent most of the year recuperating at home. Meanwhile, his longtime manager Joe Glaser died. By the summer of 1970, his doctors pronounced him fit enough to resume live performances. He embarked on another world tour, but a heart attack forced him to take a break for two months. Armstrong made his last recorded trumpet performances on his 1968 album Disney Songs the Satchmo Way. (by wikipedia)

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And here´s a great concert from 1962, I guess this was a radio broadcast show, released 30 years later.

Let´s celebrate one of these great jazz musicians from the erly days of Jazz !


Louis Armstrong (trumpet, vocals)
Danny Barcelona (drums)
Jewel Brown (vocals)
Billy Cronk (bass)
Joe Darensbourg (clarinet)
Billy Kyle (piano)
Trummy Young (trombone)


01. When It’s Sleepy Time Down South (René/Muse) 3.17
02. (Back Home Again In) Indiana (McDonald/Hanley) 4.22
03, A Kiss To Build A Dream On Kalmar/Ruby/Hammerstein) 4.27
04. My Bucket’s Got A Hole In It (‘Williams) 3.16
05. Tiger Rag (LaRocca/DaCosta) 1.26
06. Now You Has Jazz (Porter) 6.51
07. High Society (Williams/Piron) 3.03
08. Ole Miss (Handy) 3.48
09. When I Grow Too Old To Dream (Hammerstein/Wood/Romberg) 4.17
10. Tin Roof Blues (Roppolo/Mares/Pollack/Brunies/Stitzel/Melrose) 5.18
11. Yellow Dog Blues (Handy) 3.00
12- When The Saints (Traditional) 3.33
13. Struttin’ With Some Barbecue (Armstrong/Raye) 5.51
14. Nobody Knows The Trouble I’ve Seen (Traditional) 3.13
15. Blueberry Hill (Lewis/Stock/Rose) 3.27
16. The Faithful Hussar (Frantzen) 5.10
17. Saint Louis Blues (Handy) 3.36
18. After You’ve Gone (Creamer/Layton) 3.23
19. Mack The Knife (Brecht/Weill) 4.54



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Louis Daniel Armstrong (August 4, 1901 – July 6, 1971)