Bob MARGOLIN - All Star Blues Jam 2002

Bob MARGOLIN - All Star Blues Jam 2002

Blues

Bob Margolin, former lead guitar player for Muddy Waters, has assembled a stellar cast of Chicago musicians for All-Star Blues Jam. These are all longtime veteran players with pedigrees in Howlin' Wolf's and Waters' bands among others, with the exception of Mookie Brill on vocals, bass, and harmonica, who more than holds his own with this fine assemblage. The band is tight and well used to jamming, and this shows with their playing of these 15 songs that sound as if they come out of a Chicago blues handbook. Most of them are standards; however, such songwriters as Brook Benton and of course Margolin contributed a couple. A standout on the disc is the rendition of "Mean Old Chicago," which Margolin wrote on the way to Jimmy Rogers' funeral. This was recorded live, as were most of the cuts, at a gig he was doing in Salina. On this version of it he is joined on guitar by Jimmy D. Lane, who is Rogers' son. The couple of songs recorded with Hubert Sumlin were done at Margolin's house with the two of them picking and Brill joining in on acoustic guitar or harp. It has that wonderful live feel of spontaneous playing that has a true spirit to it.
By Bob Gottlieb.
**
This meeting of Muddy Waters Band alumni thrives on subtle turns of virtuosity. Session leader Margolin proves how beautifully he can approximate Waters’s soul-probing, staccato slide guitar as he adds its whinnying tone to Pinetop Perkins’s barrelhouse piano and voice on "Sweet (Little) Black Angel." Harp legend Carey Bell puts a sharp edge on "One Day You’re Gonna Get Lucky," spitting out lyrics and letting his harp rock the melody. And drummer Willie "Big Eyes" Smith incites the Elmore James-inspired shuffle "Always on My Mind," shouting and pounding out its heartbreak as Margolin slides again. "Last Time" is a rare acoustic showcase for guitarist Hubert Sumlin. And there’s room for newcomers, too. Jimmy D. Lane picks slow and easy like his dad, the late Jimmy Rogers, on "Mean Old Chicago," and Margolin’s bassist Mookie Brill comes off as an MVP, offering laid-back propulsion throughout and singing his campy original "My New Baby Owns a Whiskey Store." Together they all raise the spirit of great early Chicago blues so effectively that, if not for its excellent sound, this album could have been cut in the late 1950s.
By Ted Drozdowski.
**
Bob Margolin- (Vocals, Guitar);
Tom Brill- (Vocals, harmonica);
Hubert Sumlin, Jimmy D. Lane- (Guitar);
Carey Bell- (Harmonica);
Pinetop Perkins- (Piano);
Willie "Big Eyes" Smith- (Drums).
Mookie Brill- (Vocals, Harmonica, Bass);
**
01. Brutal Hearted Woman
02. Sweet (Little) Black Angel
03. One Day You're Gonna Get Lucky
04. I'll Take Care of You
05. Juke
06. Mean Old Chicago - Jimmy D. Lane, Bob Margolin
07. Always on My Mind
08. Easy to Love You
09. Last Time
10. Maybe the Hippies Were Right
11. Country Boy
12. Crazy 'Bout You Baby
13. My New Baby Owns a Whiskey Store
14. Goin' Down Slow
15. Just a Closer Walk With Thee
**
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Big Joe TURNER - Rhythm & Blues Years 1987

Big Joe TURNER - Rhythm & Blues Years 1987


Review 

This disc, along with Atlantic's 'Joe Turner's Greatest Hits,' will give you a good overall view of the man and his music. Lipstick Powder and Paint, Morning Noon and Night, and You Know I Love You are the main songs that will get you on this one. The man could sing anything. And, the kick is, he couldn't read. They say his wife used to teach him the words to the songs and when he let go, what came up came out. Big Joe Turner was and is BIG.
By Lester L. Carter.
**
Picks up the rest of the 1950s Atlantic Records motherlode. The Chicago-cut double-entendre gem "TV Mama" (with Elmore James on guitar), the lighthearted rockers "Rock a While," "Morning Noon & Night," and "Lipstick, Powder & Paint," and a rip-snorting remake of Turner's classic "Roll 'Em Pete," here titled "(We're Gonna) Jump for Joy," that in its own way rivals the original (King Curtis' blistering sax solo doesn't hurt), are among the many highlights on the 28-song collection.
By Bill Dahl. AMG.
**
Jimmy Nottingham (Trumpet), Christine Spencer (Vocals), Johnny Jones (Piano), Zal Schreiber (Mastering), Dave McRae (Sax (Baritone)), Mike Stoller (Piano), Elmore James (Guitar), Harry Van Walls (Piano), Ernie Hayes (Piano), Joe Tillman (Sax (Tenor)), Mickey Baker (Guitar), Ray Charles (Piano), Hilton Jefferson (Sax (Alto)), Bob Defrin (Art Direction), Abie Baker (Bass), Bob Porter (Reissue Producer), Sonny Cohn (Trumpet), Herb Abramson (Producer), Budd Johnson (Sax (Baritone)), Budd Johnson (Sax (Alto)), The Cookies (Vocals), Jesse Stone (Arranger), Jerry Leiber (Producer), Philip Guilbeau (Trumpet), Arlem Kareem (Sax (Baritone)), Mundell Lowe (Guitar), William Burchett (Sax (Alto)), Sam "The Man" Taylor (Sax (Tenor)), Big Joe Turner (Vocals), Joe Morris (Trumpet), Freddie Mitchell (Sax (Tenor)), Haywood Henry (Sax (Baritone)), Billy Mure (Bass), George Barnes (Guitar), Billy Mure (Guitar), Ahmet Ertegun (Producer), Jerry Wexler (Producer), King Curtis (Reeds (Multiple)), Dick Vance (Trumpet), Edward Frank (Piano), Sam Feldman (Mastering), Lloyd Trotman (Bass), Earle Warren (Sax (Alto)), Sticks Evans (Drums), Rector Bailey (Guitar), Mack Easton (Sax (Baritone)), Panama Francis (Drums), Jesse Stone (Piano), Marlowe Morris (Piano), Leon Cohn (Reeds), Marlowe Morris (Organ), Allen Hanlon (Guitar), Oscar Moore (Drums), Choker Campbell (Sax (Tenor)), Van "Piano Man" Walls (Piano), Lloyd Lambert (Bass), Taft Jordan (Trumpet), Red Tyler (Sax (Tenor)), Ahmet Ertegun (Executive Producer), Leon Cohn (Reeds (Multiple)), Mike Stoller (Producer), Wilbur DeParis (Trombone), King Curtis (Sax (Tenor)), Herb Abramson (Liner Notes), Bill Suyker (Guitar), Leonard Gaskin (Bass), Worthia Thomas (Trombone), Haywood Henry (Sax (Tenor)), Michael Chimes (Harmonica), Helen Way (Vocals), Doryce Brown (Vocals), Mel Wonzo (Trombone), Harry Van Walls (Orchestra), Al Sears (Sax (Tenor)), Gus Fontenette (Sax (Alto)), Stephen Innocenzi (Digital Transfers), Choker Campbell (?), Grady "Fats" Jackson (Sax (Tenor)), Red Saunders (Drums), Jimmy Richardson (Bass), Belton Evans (Drums), John Girard (Trumpet), Connie Kay (Drums), Jesse Stone (Orchestra), Arlem Dareem (Sax (Alto)), Ernie Hayes (Keyboards), Jerome Richardson (Sax (Alto)), Mel Wanzo (Trombone)
**
01. Don't You Cry
02. Poor Lover's Blues
03. Still In Love
04. TV Mama
05. Married Woman
06. You Know I Love You
07. Midnight Cannonball
08. In The Evening
09. Morning Noon and Night
10. Ti-Ri-Lee
11. Lipstick, Powder and Paint
12. Rock A While
13. After a While
14. Trouble In Mind
15. World Of Trouble
16. Love Roller CoastLove Rollercoaster
17. I Need a Girl
18. Teenage Letter
19. Wee Baby Blues
20. (We're Gonna) Jump For Joy
21. Sweet Sue
22. My Reasons for Living
23. Love Oh Careless Love
24. Got You on My Mind
25. Chains of Love
26. My Little Honeydipper
27. Tomorrow Night
28. Honey Hush
**
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Thelonious MONK - Piano Solos 1954

Thelonious MONK - Piano Solos 1954
Imagem Br.

Jazz

The nine tunes found here (On Lp 8) represent Thelonious Monk's solo Vogue recordings from June 7, 1954. These sides were cut by Monk for the Parisian imprint and are considered to be the very first solo studio recordings to feature the pianist. For those interested in hearing the fullness inherent in Monk's performance style, PIANO SOLO should be considered essential listening--even more so as the contents boast eight renditions of Monk originals, all of which remained not only essential items in his repertoire, but in time became contemporary jazz standards unto themselves.

Suitably, Monk's unofficial theme song commences with a sumptuous "'Round Midnight." It contains all the highly developed changes and quirky nuances that had already become the artist's trademark. Hearing the raw Monk furthers the assertion that when he accompanied himself, he became his own orchestra. "Evidence" swings between alternating scat-like tickling of the 88s and the emphatic yet intentionally off-kilter melody. Particularly enjoyable is the seemingly second nature with which Monk rollicks, bobs, and encases the central theme. The sole cover is a worthy entry of Jerome Kern's pop classic "Smoke Gets in Your Eyes." There is a romantic thoughtfulness woven into the complex chord structures--especially noticeable during the chorus. The always effervescent and playful "Well, You Needn't" bounds along thanks in part to an energetic stride style that recalls the likes of Willie "The Lion" Smith or the great James P. Johnson. Much the same can be said of "We See" and "Off Minor" as Monk's relaxed, mischievous side is more thoroughly indulged. By the same token, it is always nice to have a version of the good-natured "Eronel," as there are only a handful available. There is an undeniable hominess and warmth in this rendition, imbued in the conversational qualities of the call-and-response phrases Monk reels off. Although Monk would sporadically be recorded in similarly sparse settings throughout his career, few seem to relate the passion of this seminal session.
**
A1. 'Round About Midnight 5:17 
A2. Evidence 3:07
A3. Smoke Gets In Your Eyes 3:27
A4. Well You Needn't 3:29 
B1. Reflections 5:04 
B2. We See 2:38 
B3. Eronel 2:34     
B4. Off Minor 2:35
**
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Vince GUARALDI And Bola SETE - From All Sides 1964

Vince GUARALDI And Bola SETE - From All Sides 1964

Jazz

Given Vince Guaraldi's affinity for Brazilian music, this pairing with Brazilian guitarist Bola Sete from the early '60s seems like a natural. On From All Sides, fans of the Peanuts TV specials will recognize Guaraldi's trademark pianistic style, with "Menino Pequeno da Bateria" being essentially the same tune used as "My Little Drum" on A Charlie Brown Christmas. The melody of "Ginza Samba" will also be familiar to the Charlie Brown TV audience. Sete contributes a pair of originals, with "Mambeando" being especially enjoyable. The group offers a tasty reading of "The Girl from Ipanema," and places "A Taste of Honey" into an interesting Latin groove. The interaction between the two principals here is generally quite good, though Sete's solo appears to be out of kilter rhythmically with Guaraldi's trio on "Menino Pequeno." That minor complaint aside, this is an enjoyable, easygoing outing.
By Jim Newsom.
**
Guaraldi and Sete team up again for another attractive, mostly bossa nova session, this time with a softer-focused rhythm section, shorter tracks, and more Guaraldi tunes (4) on the menu than before. Guaraldi's quasi-Oriental "Ginza" is resurrected and retooled, "The Girl From Ipanema" and "A Taste Of Honey" are dutifully covered, and the most amusing track is Vince's tongue-in-cheek, slightly rock-ish cha-cha "The Ballad Of Pancho Villa." Although Guaraldi was in somewhat fresher form in his other albums with Sete, this one won't disappoint his fans
By Richard S. Ginell, All Music Guide.

Vince Guaraldi- (Piano);
Bola Sete- (Guitar);
Fred Marshall, Monty Budwig- (Bass);
Jerry Granelli, Nick Martinez- (Drums).
**
01.Choro
02.Menino Pequeno Da Bateria
03.Ginza Samba
04.The Girl From Ipanema
05.A Taste Of Honey
06.Ballad Of Pancho Villa
07.Little Fishes
08.Mambeando
**
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Wayne SHORTER - Night Dreamer 1964

Wayne SHORTER - Night Dreamer 1964
BST 84173

Jazz

Shorter's Blue Note debut, NIGHT DREAMER, is a stunning statement from one of the premiere saxophonists and composers in the history of jazz. In 1964, after a long period as musical director for Art Blakey's Jazz Messengers and newly joining Miles Davis' quintet, Shorter was primed to enter the field as a major solo artist. His guests include Lee Morgan (trumpet), renewing the outstanding frontline the two formed in Blakey's band, and McCoy Tyner (piano) and Elvin Jones (drums) from Coltrane's legendary quartet. The musical vision here, however, is Shorter's alone.

Shorter's distinctive compositional style begins to take shape with the opening title track, a bouncing waltz with a dusky, modal flavor and a subtle rhythmic drive. Likewise, his arrangement of an "Oriental Folk Song" has a similar burnished tone with beautifully executed harmonies between Shorter and Morgan. Interestingly, the swinging "Black Nile" and "Armageddon" are very reflective of Shorter's previous tenure with Blakey while perpetuating the range of his newfound freedom with Davis' group. "Charcoal Blues" is the most traditional piece in the set but nevertheless gives us a sense of his more independent leanings. Also included are two takes of the graceful ballad "Virgo," a classic Shorter composition.

Tenor saxophonist Wayne Shorter's Blue Note debut found him well prepared to enter the big time. With an impressive quintet that included trumpeter Lee Morgan, pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones, Shorter performed a well-rounded program consisting of five of his originals.
By Scott Yanow & Thom Jurek. AMG.
**
Night Dreamer is all that it’s supposed to be ... for me it was as if I had opened the door to my past.  I remembered being about fourteen in 1964, going to a quiet but upscale dinner party with my parents, where the host and hostess not only played really cool music like this, but they understood this music, and they had the clothes and gracious attitude to wrap it all up in a perfect package.  I rode home, sitting in the back seat alone, but in my mind I was still sitting at the dinner table, paying attention to every little detail ... with words like “hor d’ourves,” “shredded blue cheese,” “jazz,” and “light dimmers” echoing in my head.  It was all so new to me, it was a world in which my parents did not travel, but certainly one I hoped to; and with all of the same grace and ease shown by my hostess, in her black, sleeveless, turtle necked, angora dress and single strand of glimmering pearls.

Her name was Dana, and she didn’t talk down to me, she was happy to point and discuss anything I looked at ... but what held my attention most, was that she always seemed to be listening to the music, even while she was talking she was listening ... so was her husband, who would do this quick tappy drumming thing right over his heart almost unconsciously.  I remember her saying how much she loved this album by Wayne Shorter, she even picked it up and showed it to me, but with my head so full of new wonders, it is no wonder that I did not remember his name, or “Night Dreamer,” the title of this album.  Now, over forty years later, my friend Philip has reacquainted me with such a seminal moment in my life ... when everything was was cool and blue and new.

This is nearly a perfect record, reflecting the talent of one of the greatest Jazz musicians.  Even in Rock, yet alone Jazz, it is seldom that I have the luxury of playing an album from which every song proves a comfortable listen from beginning to end ... and Night Dreamer is one of those exceptions.  The songs are varied, but seem to maintain an emotional theme, centering around relationships gone astray, romance, heartbreak, love, pain ... and all from the perspective of an artist who has actually lived these experiences, and has been gracious enough to share them with us.  While the songs are not so much remembered in the fashion that one can hum them from memory, never the less, the songs seem to find a place in your mind, and reside there for all time ... I am living proof of that.

The smile this release brought to my face, and the warmth to my heart, was like meeting an old friend again ... one whom I will not let slip between my fingers for a second time.
**
Lee Morgan- Trumpet
Wayne Shorter- Tenor Sax
McCoy Tyner- piano.
Reginald Workman- Bass
Elvin Jones- Drums.
**
A1. Night Dreamer  7:15
A2. Oriental Folk Song   6:59
A3. Virgo   7:05
B1. Black Nile   6:25
B2. Charcoal Blues   6:50
B3. Armageddon   6:20
**
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Abdullah IBRAHIM (Dollar Brand) - Cape Town Fringe 1977

Abdullah IBRAHIM (Dollar Brand) - Cape Town Fringe 1977

Jazz

From this period and throughout the 70’s, he would record prolifically for a variety of labels, further expanding and extending his free form tonality and African infusion of spatial melody accompanied by a sometimes whispered rhythm, as ancient as Africa itself, he would go on to say that he was just a channel for this manifestation. It was during this creative period that he recorded “Ode to Duke Ellington” in Germany in 1973. This was his tribute to his good friend and mentor, and is a masterpiece. He does a magnificent job of intertwining his piano voicing with Dukes melodies. He returned to Capetown in 1973 and from ’74 to ’76 recorded with South African musicians. It was there that he recorded the legendary “Capetown Fringe”, under its original name of “Mannenburg”, (named after his tenor player at the time) it would become the anthem of the uprisings in the Soweto township, expressing musically the anguish of his people under the oppression of apartheid. He followed immediately with “Soweto”, which elevated his status back home and brought him international recognition for the effort. This album contains the classic cuts ‘Soweto’ on one side and ‘African Herbs’ and ‘Sathima’ (for his wife) on the other. This creative period was fueled by the political and social turmoil brewing back in Capetown, which affected and inspired him profoundly. For those of us lucky to have been listening, it was a time of musical resistance, solidarity, bewilderment, angst, and admiration. Right on!!
**
Paul Michaels- Bass
Monty Weber- Drums 
Dollar Brand- Piano 
Robbie Jansen- Alto Sax, Flute 
Basil Coetzee- Tenor Sax, Flute
**
A. Cape Town Fringe 13:36
B. The Pilgrim 13:00
**
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Blue MITCHELL - Heads Up 1968

Blue MITCHELL - Heads Up 1968
BST 84272

Jazz

An excellent set by Blue -- featuring his funky trumpet blowing out over backings by a 9 piece group arranged by Duke Pearson and Jimmy Heath. The cuts are longer than on Blue's later Blue Note LPs -- like Collision In Black and Bantu Village -- and the groove's got a nice warm bottom to it, with nice lyrical solos throughout that kind of link together the two sides of his Blue Note work. Includes the cuts "Heads Up! Feet Down!", "Good Humor Man", "Len Sirrah", and "People in Nassau". A tough one to find, too! (Liberty/UA pressing. Vinyl has some oxidation and light sleeve marks, but play is not affected. Cover looks great!)
From Dusty Groove.
**
Gene Taylor- Bass
Al Foster- Drums
McCoy Tyner- Piano
Jerry Dodgion- Alto Sax,Flute
Pepper Adams- Bariton Sax
Junior Cook- Tenor Sax
Julian Priester- Trombone
Blue Mitchell , Burt Collins- Trumpet
**
A1. Heads Up! Feet Down! 5:40  
A2. Togetherness 6:45
A3. The Folks Who Live On The Hill 5:25  
B1. Good Humor Man 5:40  
B2. Len Sirrah 7:15 
B3. The People In Nassau 5:40  
**
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