Sunday, 27 February 2011

Richie Hart ''Greasy Street''

Richie Hart

Well it's been a long time between posts for me and I am back with a winner.I picked this album up in Sydney a few weeks ago,I was not familiar with the artist but if it was good enough for Lonnie Smith,it's good enough for me.I hope you like it.

"Richie Hart leads a stellar band that captures the classic guitar/organ combo sound accurately with a swinging groove. His original compositions ensure that jazz and blues will find a comfortable seat every time his unit takes the stage." - ALL ABOUT JAZZ

Connecticut-based jazz guitarist Richie Hart and his trio present Greasy Street, a funky, blues-drenched set of two originals and eight standards. Stellar high points include the trio’s inspired musical collaboration with today’s undisputed leading Hammond B3 organist Dr. Lonnie Smith on three swinging, bluesy tracks. Richie Hart was a regular member of Dr. Lonnie Smith’s trio in the 1980s. Accompanying Hart are seasoned veterans Rick Petrone and Joe Corsello. Petrone’s list of credits includes work with Maynard Ferguson, Joe Beck and more, while Corsello has performed with Sam Rivers, Barry Miles and John Scofield.

By Andy

Wednesday, 16 February 2011

Brian Auger, from the early 70s! Two LPs.

Brian Auger & Julie Driscoll - Open

Brian Auger, Julie Driscoll And The Trinity

( Marmalade, Polydor Records, 1967 )
Catalog # 607 002, 607 002

Note (by Lupo):
It's Brian Auger, from the early 70s, real gems.
You'll find a story written by Brian himself for the IAJO web site about how he came to the organ, on the IAJO web site. Follow "organist of the month" -> "see the past organists of the month" -> march 2007.

In And Out 2:56
Isola Natale 5:17
Black Cat 3:17
Lament For Miss Baker 2:31
Goodbye Jungle Telegraph 6:05
Tramp 4:01
Why (Am I Treated So Bad) 3:25
A Kind Of Love In 2:28
Break It Up 2:55
Season Of The Witch 7:40

Arranged By - Brian Auger , Richard Hill
Engineer - John Timperly
Producer - Giorgio Gomelsky

Brian Auger & Julie Tippets - Encore

Brian Auger & Julie Tippetts

( Warner Bros. Records, 1978 )
Catalog # K 56458

Spirit 4:06
Don't Let Me Be Misunderstood 3:32
Git Up 3:46
Freedom Highway 2:49
Future Pilot 4:21
Rope Ladder To The Moon 3:01
No Time To Live 6:14
Nothing Will Be As It Was 3:44
Lock All The Gates 5:03

Arranged By, Producer - Brian Auger

A Nasty Production
Recorded October and November 1977 at Different Fur Studios, San Francisco

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Courtesy of Lupo

Wednesday, 9 February 2011

Eric Alexander ''Alexander The Great''


Eric Alexander

''Alexander The Great''
( High Note Records, 1999)

1 Burner's Waltz - Alexander 7:32
2 Let's Stay Together - Green, Jackson, Mitchell 6:00
3 God Bless the Child - Herzog, Holiday 6:31
4 Explosion - Alexander 8:11
5 Through the Fire Foster, Keane, Keene, Weil 5:24
6 Soft Winds - Goodman, Henderson 8:13
7 Born to Be Blue - Tormé, Torme, Wells, Wells 5:57
8 Carrot Cake - Bernstein 7:56

Personnel & Credits:
Eric Alexander Sax (Tenor)
Peter Bernstein Guitar
Charles Earland Organ (Hammond), Producer
Joe Farnsworth Drums
Joe Fields Executive Producer
J. Flint Session Photographer
Benny Goodman Composer
Al Green Composer
Arthur Herzog, Jr. Composer
Billie Holiday Composer
Al Jackson, Jr. Composer
Tom Keene Composer
Willie Mitchell Composer
Jim Rotondi Trumpet
Mel Tormé Composer
Rudy Van Gelder Engineer
Robert Wells Composer
Pamela Xavier Graphic Design


Review by Michael G. Nastos (AMG):
The combination of tenor saxophonist Alexander, trumpeter Jim Rotundi, guitarist Peter Bernstein and drummer Joe Farnsworth has yielded great results, with the collective One for All and their own individual bands. Their longstanding association with organ master Charles Earland unfortunately ends with this CD, as Earland has passed away. So this is their last chance to cook with the Mighty Burner, and they do it up right. Although this is Alexander's date, all five take equal roles in this effort. They swing harder than seemingly possible for "Explosion," a muscular and virile hard-driver where horns shout over Earland's fiery solo. The steaming hot "Burner's Waltz" has an incessant bass drum throb pushing an unassailable groove and Alexander's rip-em-up tenor. The same type of bass drum pulse raises the funky "Carrot Cake." The band dips into the Benny Goodman songbook for "Soft Winds," an easy swing not readily adaptable to the organ combo, but pulled off nicely here. Earland's penchant for pop-funk is present on the Al Green evergreen "Let's Stay Together," with Alexander's pretty, sweet tenor playing the sturdy melody line, and Rotundi's trumpet inventing contrary lines as support. Chaka Khan's "Through the Fire" has all the earmarks of Earland's trademark stance, but more hollowed out. There are also two ballads. "God Bless the Child" has Bernstein leading and Alexander moving him up a notch, while Earland doubles the tempo on the bridge for roiling organ and tenor solos. Alexander's increasing maturity is evident on the low-end emphasis of the surly "Born to Be Blue." Where Earland's epitaph has been written, this posthumous coda is a reminder of how inspirational he was to younger cats. The remaining four will carry this relationship with them for a long time, and this is a perfect example that this match was made in heaven, where Earland has now returned.

By Pier

Sunday, 6 February 2011

MFS Radio Presents: Bill's ''Mouldy Oldies'' Volume 7

MFS Radio Presents:

Bill's ''Mouldy Oldies'' Volume 7

1 Trudy Pitts Love for sale
2 Louis Ramirez Milestones
3 Mark Murphy Happy Samba
4 Fabio Fonseca Trio Cochise
5 Urbie Green Comin` home baby
6 Betty Roche Blue moon
7 Harold Johnson Sextet Sorry `bout that pt 2
8 The Brothers Seven Evil ways
9 Latimore Stormy Monday
10 Jimmy Smith Theme for Alphonse
11 Shirley Scott Mucho mucho
12 Richard Groove Holmes Nica`s dream
13 Freddie McCoy Collard greens
14 Eddie Bishop Call me
15 Hank Marr Marr`s groove
16 Johnny Lytle Does anybody really know what time it is
17 Brian Auger Sister Sadie
18 Gerardo Frisina Sophisticated samba
19 Barbara Dennerlein Bloody Mary
20 Gene Ammons He`s a real gone guy

Selected By Bill
A My Favourite Sound© Production, 2011

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Michael Falkenstein 4 CDs Courtesy of Lupo!

Michael's way as a Hammond freak and a professional was determined by his father's activities who has been involved in the service business for electronic instruments. In 1982, he opened a Hammond studio in which Michael, as a youngster, was allowed to present Hammond instruments. This was a unique chance to play and teach himself. Very quickly, he adopted famous organ players like Jimmy Smith, Curt Prina or Wild Bill Davis.
The Hammond became his passion. "A Hammond sticker was worth a whole bunch of bills", he says. Just turned 15, he performed for the first time. In the years to follow, Michael had some excellent chances to meet artists who gave him decisive impulses for his further career: James Brown and Jimmy Smith. James dubbed him "Prince of Soul on the Hammond-Organ".
Michael's business today is the Hammond. He is the general sales manager for Hammond Suzuki in Germany, Austria and some East European countries.

Michael Falkenstein started at the age of four years with the game of keyboard instruments. He was inspired by his parents.
Since 1992, Falkenstein worked as manager of the Hammond company for the German speaking countries. 1995 Michael Falkenstein met in Montreux for the first time with the "King of Soul" - James Brown - together, who in 1998 visited in person at the Hammond organ studio of his parents during a concert in Frankfurt on the "Prince of Soul" hit.
Michael Falkenstein sees music as a part of life, as a universal language. Its aim is to create understanding between diverse people. He loves to extremes to keep one another. He wants to show that it is possible through understanding, respect, respect for and interest in the thoughts and feelings of others formed friendship.

Lupo's comment:
Today I'd like to introduce a German Hammond player: Michael Falkenstein.
Not all of his CDs are jazzy or funky, but nevertheless it's interesting.

High Heel Sneakers
Hammond Explosion
Organs And Cars
Hammond Swing
(Links in comments)

Courtesy (obvious!) by Lupo

Wednesday, 2 February 2011

Fabio Fonseca Trio ''Opus Samba''


Fabio Fonseca Trio

''Opus Samba''
(JSR Records, 2007)

Fabio Fonseca was born in Rio de Janeiro in 1961. He began playing piano at eight and while in his teens he balanced studies of classical music with electric experiments on the Wurlitzer, Fender Rhodes, MiniMoog and Yamaha organ in the company of other young, local musicians.
In 1981, Fonseca was invited by drummer Sergio Naidin to join Nota Vermelha, a band of young locals including future Brazilian pop stars Fernanda Abreau and Leo Jaime. A year later, at the age of 22, Fonseca was invited to play with the funk band, Brylho. Fonseca made his debut as a recording artist in 1985 with his band Cinema-a-Dois, on the national hit "Não Me Iluda" (RCA). His eponymous solo debut was issued by WEA in 1988, right before he joined Ed Motta’s band, where he wrote what became Motta’s signature hit, the funked-out dance floor classic, "Manuel".
The 1992 album, Tradução Simultánea (Philips), featured much of Fonseca’s best work of the time and was notable for the beautiful "A Mulher de 15 Metros", with Luiz Melodia sharing vocal duties and the legendary João Donato providing a sumptuous orchestral arrangement and lyrical piano accompaniment.
Fabio Fonseca spent the rest of the twentieth century’s last decade establishing his credentials as an influential producer for former bandmate Fernanda Abreu and many others including Marina Lima, Luiz Melodia, Edson Cordeiro, and rapper Gabriel O Pensador. His musical work over the last fifteen years also includes many arrangements and dates on a variety of keyboards for such artists as Lulu Santos, Dom Um Romão, João Donato, Ithamara Koorax, Ed Motta, Seu Jorge, and the rock band Paralamas.

01.Samba De Nanh
02.To High
03.Vida Vira Vida
06.Traducao Simultanea
07.Samba Da Copa
09.A Mulher De 15 Metros
10.Missing Dom Um
11.Mr Bertrami
12.Pro Rene

Source: The IAJO web site.

The CD was ripped as MP3/320.

Courtesy of Lupo

Tuesday, 1 February 2011

Lonnie Smith ''Jungle Soul''

lonnie smith jungle soul BL

Lonnie Smith

''Jungle Soul''
(Palmetto Records, 2006)

On Jungle Soul, the great organist and his quartet -- Peter Bernstein on guitar, drummer and percussionist Allison Miller, and rhythm guitarist/producer Matt Balitsaris -- tackle some jazz standards -- "Bemsha Swing," "Willow Weep for Me," and Eddie Harris' bona fide soul-jazz classic "Freedom Jazz Dance" -- and place them against Marvin Gaye's "Trouble Man," and a handful of Smith originals and come up with a stunner. Palmetto Records 2006.

1 Trouble Man
2 Simone
3 Jungle Soul
4 Willow weep for me
5 Freedom Jazz Dance
6 Blue Moment
7 Witch Doctor
8 Bemsha Swing
9 Zimbabwe
10 Jungle Wisdom

Not my favourite Lonnie Smith, but a bit obscure.
Ripped from my CD

Dr. Lonnie Smith: organ;
Peter Bernstein: guitar;
Matt Balitsaris: guitar;
Allison Miller: drums, percussion.

Review from All About Jazz:
Hammond B-3 master Dr. Lonnie Smith returns with a soulful, funky session of straight-ahead grooves and smoldering moods on Jungle Soul. After a series of focused tributes to individual musicians (John Coltrane , Jimi Hendrix and Beck , respectively), this release finds the good doctor drawing from classic and original source material for an enjoyable theme ride through the proverbial dark continent.
Joined by a stripped-down organ combo lineup of guitar and drums, Smith charts a course of smoldering intensity. Guitarist Peter Bernstein works with Palmetto Records producer Matt Balitsaris , who plays rhythm and acoustic guitar here. Both players hold forth with a bright, clean tone and sinuous linearity, matching Smith's rumbling undulations with their own searing highs. Up and coming drummer Allison Miller demonstrates ambitious creativity and excellent chops on a session full of subtle surprises. Whether locking into straight-ahead swing grooves or mimicking entire African drum choirs, Miller never falters.
From the easy going blues grooves of "Trouble Man" and "Simone" to the sultry funk grind of "Witch Doctor" and manic thrill ride of "Zimbabwe," Smith and his cohorts pilot a journey through scenic terrain. The tender ballad "Blue Moment" finds Smith at his most dulcet and reflective, while "Jungle Wisdom" reveals a more experimental side as he plays pneumatically, generating marimba like tones from his B-3. Miller sets up a barrage of percussive effects, emulating multiple hand drummers with polyrhythmic flair.
Smith takes a laid-back approach overall, with only a moment or two of relative abandon. Breathing fresh life into a regal chestnut like "Willow Weep for Me," Smith ratchets up the intensity level in a boisterous, rambunctious solo of gospel-like intensity. Other standards receive a similarly unique treatment. "Bemsha Swing" oozes darkness, played with gauzy chording and a slinky tempo, while "Freedom Jazz Dance" takes on an Africanized sheen, complete with funky, modulated polyrhythmic effects.
As jazz records go, Jungle Soul qualifies as a perfect summer album. While it may be enjoyable in the light of day, its smoky, dark ambience lends itself perfectly to late night moods.

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By Bill

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