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Jazz Blues Club » Music » Blues
1965: Dave "Baby" Cortez - Organ Shindig Music » Blues » Rhythm-n-Blues
1965: Dave "Baby" Cortez  - Organ Shindig
Artist: Dave "Baby" Cortez
Album: Organ Shindig
Label: Roulette Records
Year: 1965
Format, bitrate: mp3; 128 mb/s (LP-rip)
Duration 30:22
Size: 32 MB

After scoring the Top Ten singles "The Happy Organ" in 1959 and "Rinky Dink" three years later, instrumentalist Dave "Baby" Cortez (organ) issued a trio of LPs on Roulette Records in the mid -60s. Organ Shindig (1965) -- his first of several long-players for the label -- hosts spirited remakes of concurrent pop and soul classics. Cortez is supported by an uncredited combo consisting primarily of electric guitars, electric bass, drums and the occasional horn section augmentation. While all involved -- especially Cortez -- supply energetic environs to the familiar favorites, for the most part the aggregate provide a virtually ersatz backdrop. Sam Cooke's "Shake" is given much the same Memphis R&B vibe that Otis Redding would bring to his interpretation. Herbie Hancock's "Watermelon Man" retains the slippery syncopated rhythm as Cortez supplies limber leads and irrepressible Hammond B-3 interjections. Interestingly, the a cappella introduction to "Boy From New York City" -- presumably by Cortez himself -- offers up the only vocals on Organ Shindig. There are substantial contributions from the studio band, bearing the distinct aura of performers from Phil Spector and Brian Wilson's luminous 'Wrecking Crew' coterie. As alluded to above however, and as was common practice of the time, none of the personnel are listed on the original LP jacket. "Can't Buy Me Love" swings hard in an almost bluesy expression from the up front and center organist. He quite literally wails as his rotating Leslie speaker cabinet spins at warp speed. There are also a few noteworthy entries from the Motown catalog, including a surprisingly good take of "How Sweet It Is (To Be Loved by You)," as well as the bouncy reading of John D. Loudermilk's "Paper Tiger," which had been a hit for Sue Thompson in 1964
~ Lindsay Planer , All Music Guide
2011: Trombone Shorty - For True Post-bop, Rhythm-n-Blues, Soul, Funk-Jazz
2011: Trombone Shorty - For True
Artist: Trombone Shorty
Album: For True
Label: Verve Forecast
Year: 2011
Format, bitrate: Mp3, 320 kBit/s
Time: 44:47
Size: 102.66 MB

New Orleans' Troy Trombone Shorty Andrews knows the music biz inside out. Hounded for years by friends and music business types to jump into the game, he understood the lessons of his lineage elders: too many had been been ripped off and discarded. He took his time, assembling, rehearsing, and touring Orleans Avenue, a band steeped in brass band history, jazz improv, funk, soul, rock, and hip hop. He finally signed to Verve Forecast and released Backatown in April of 2010. Entering at number one on the jazz charts, it stayed there for nine straight weeks, and was in the Top Ten for over six months. For True hits while Backatown is climbing again. Chock-full of cameos it is an extension, but sonically different. It's production is crisper, but the musical diversity more pushes further. In addition to trombone, Shorty plays trumpet, organ, piano, drums, synths, and, of course, sings. Orleans Avenue colors the rest. They are tighter, even more confident, and perhaps even more adventurous here. Though Shorty handles some tracks playing all the instruments himself, or with a guest or two, OA bear the lion's share with gravitas. Buckjump is the first clue that this is part two -- it could have been the closing track on Backatown. The Rebirth Brass Band guest and play a big funky horn chart as Shorty's big trombone solo greases the skids. NOLA's Weebie chants in tandem with the break-heavy rhythm track. "Encore" (written with Motown's Lamont Dozier) showcases some of Shorty's B-3 and soulful vocal skills, as Warren Haynes lends his trademark guitar sound. The title track, one of the album's brief musical interludes, features Shorty's solo with a killer trumpet break. Do to Me has a melody constructed around Shorty's smoking bone solo and a knife-edged guitar solo from Jeff Beck. "The Craziest Things" and "Dumaine Street" showcase Shorty's and Orleans Avenue's collective ability to create locking, complementary grooves; they play funky second-line rhythms countered by a jazz horn chart and improv in an R&B tune on the former, and a marching stepper on the latter. Ivan and Cyril Neville help with some fine vocal work on "Nervis," and Ledisi's stellar performance on the swinging rhythm & blues Then There Was You shines. "Mrs. Orleans" featuring Kid Rock's out-of-place, boisterous rap, could have been left off without the album suffering. The cut "Big 12," with producer Ben Ellman on blues harmonica, is titled for Shorty's older brother James' nickname, it kicks with big bass drums, hi-hat, and snares, locked on horns, rock guitar vamps, and a dubwise bassline. Ultimately, comparing For True to Backatown is pointless: they are of a piece, experimental records that show different sides of his identity besides the one for punchy homegrown R&B he's known for at home; two parts of a compelling, dynamic musical aesthetic firmly in and of the 21st centuryeven whenthey look back at history.
~ Thom Jurek, All MUsic Guide
19xx: Mickey Baker - The One And Only Great Guitar Music » Blues » Rhythm-n-Blues
19xx: Mickey Baker - The One And Only Great Guitar
Artist: Mickey Baker
Album: The One And Only
Years: 195x, realise 19xx
Genre: Early R'n'B
Format, bitrate: mp3, 320kb/s
Size: 167 MB

Of all the guitarists who helped transform rhythm & blues into rock & roll, Mickey Baker was one of the very most important, ranking almost on the level of Chuck Berry and Bo Diddley. The reason he wasn't nearly as well known as those legends is that a great deal of his work wasn't issued under his own name, but as a backing guitarist for many R&B and rock & roll musicians. Baker originally aspired to be a jazz musician, but turned to calypso, mambo, and then R&B, where the most work could be found.
In the early and mid-'50s, he did countless sessions for Atlantic, King, RCA, Decca, and OKeh, playing on such classics as the Drifters' "Money Honey" and "Such a Night," Joe Turner's "Shake, Rattle & Roll," Ruth Brown's "Mama, He Treats Your Daughter Mean," and Big Maybelle's "Whole Lot of Shakin' Going On." He also released a few singles under his own name, and made a Latin jazz-tinged solo album, Guitar Mambo.
1963: Jimmy McGriff - Jimmy McGriff At The Organ Jazz-Blues, Soul-Jazz
1963: Jimmy McGriff - Jimmy McGriff At The Organ
Artist: Jimmy McGriff
Album: Jimmy McGriff At The Organ
Label: Collectables
Year: 1963
Release: 1996
Format, bitrate: Mp3, 320 kbit/s
Time: 37:57
Size: 88 MB


McGriff with Rudolph Johnson on soprano and tenor sax, Larry Frazier on guitar and Jimmie Smith on drums. This album contains the classic McGriff cut "Kiko," "That's All," and "Hello Betty." This is drum/sax driven McGriff at his best.
~ Michael Erlewine, All Music Guide
1995: Guitar Gabriel - Guitar Gabriel, Volume 1 Music » Blues
1995: Guitar Gabriel - Guitar Gabriel, Volume 1
Artist: Guitar Gabriel
Album: Guitar Gabriel, Volume 1
Label: Music Maker MMCD 0494
Year: 1995; Release: 2006
Format, bitrate: Mp3, 320 kBit/s
Time: 1:00:38
Size: 138 MB

Gabriels repertoire includes an eclectic mixture of Piedmont, Chicago, Texas, and gospel numbersall done, however, in his own gritty, Piedmont-rooted style that he refers to as 'toot blues'.
~David Nelson

In this album the Great Guitar Gabriel "ventures well beyond drink houses into his own private Birdland, an improvisational crossroads where the starkly pre-modern meets the startlingly postmodern.
~Music Maker Relief Foundation
1969: Bill Doggett - Honky Tonk Popcorn Music » Blues » Rhythm-n-Blues
1969: Bill Doggett - Honky Tonk Popcorn
Artist: Bill Doggett
Album: Honky Tonk Popcorn
Label: King Studio
Year: 1969
Format, bitrate: mp3 / 320Kbps
Time: 51:07
Format, bitrate: mp3-320Kbps
Size: 80 mb

Funky funky Hammond a rare late 60s album from organist Bill Doggett, done with some help from James Brown and a set that's unlike anything Doggett ever recorded before or since! There's a blasting groove to the record right from the start thanks to help from The James Brown Band on the leadoff cut but even when they drop out, and Doggett's combo goes out on their own, the sound is still amazing tight, soulful, and very much in a funky 45 style all the way through! Drums are hard, the organ is nice and fluid, and the sound is prime late 60s instrumental funk a groove that Doggett never managed to reach again, which makes this record a real standout treasure. The album includes the legendary funky break cuts "Honky Tonk" and "Honky Tonk Popcorn", plus lots of other nice groovers, like "A Doozy", "Mad", "Slippin In", and "Corner Pocket". 1996-2013, Dusty Groove, Inc.

More than a decade after scoring with the classic R&B instrumental "Honky Tonk," Bill Doggett teamed with producer James Brown to create "Honky Tonk Popcorn," a remarkably vital and relentlessly funky comeback effort on par with anything bearing the JB seal of approval. Doggett's laid-back, soulful organ fits perfectly within the context of Brown's dynamic funk arrangements. "Honky Tonk" is reborn as a ferocious groover, while "Honky Tonk Popcorn" invents the song yet again, this time with a galvanizing guitar lead. Covers of Edwin Starr's "Twenty Five Miles" and Otis Redding's "Mr. Pitiful" are no less incendiary, but what's most surprising is the energy of Doggett's new original material: "Mad" benefits from a monster drum break and a fiery saxophone solo, while the slow-burning "After Lunch" is as smooth and creamy as its title suggests.
~ Jason Ankeny , All Music Guide
1963: Willis Jackson - Loose Hard-bop, Jump Blues
1963: Willis Jackson - Loose
Artist: Willis Jackson
Album: Loose
Label: Prestige
Year: 1963
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Size: 96 MB

Born in Miami, Florida Jackson joined Duke Ellington alumnus Cootie Williams's band in 1949 as a teenager, after being discovered by Eddie Vinson. During the 1950s Jackson participated in R&B and jazz recordings, primarily as a session musician. He also toured as leader of the backing band of singer Ruth Brown, whom he married. Jackson joined Prestige Records in 1959, making a string of jazz albums that proved to an influence on the burgeoning soul jazz movement.[citation needed] During this era, Jack McDuff and Pat Martino became famous through association with Jackson. Jackson's main influences were Lester Young and Illinois Jacquet.
Jamaican ska innovator Prince Buster has cited Jackson's song "Later for the Gator" as one of the first ska songs.
Jackson died in New York one week after heart surgery, in October 1987, at the age of 55
1961-1966: The Merced Blue Notes - Get Your Kicks On Route 99 Music » Blues » Rhythm-n-Blues
1961-1966: The Merced Blue Notes - Get Your Kicks On Route 99
Artist: The Merced Blue Notes
Album: Get Your Kicks On Route 99
Label: ACE
Year: 1961-1966
Release: 2004
Format, bitrate: Mp3, 320 kBit/s
Time: 01:03:09
Size: 149 MB

With ten tracks from rare 1961-1966 singles, three cuts that only appeared on a compilation, and 13 previously unreleased recordings (one of them a previously unissued alternate take of their single "Bad, Bad Whiskey"), this is a more comprehensive anthology of this obscure group than anyone could have envisioned. As exhaustive as the archivism might be, it's fairly routine early-'60s-styled R&B-rock (even on the mid-'60s recordings), anchored by bluesy riffs and a small combo organ-grounded sound on both vocal and instrumental numbers. In some ways it's similar to the energetic (if oft-unimaginative) grinds churned out by numerous Northwest bands in the same era, though the Merced Blue Notes leaned perhaps a bit more to the more modern, funkier grooves being opened up by groups like Booker T. & the MG's. Were these guys funky? Sure -- they spin out tough bluesy guitar licks, penetrating organ, occasional blues harmonica, and (on the non-instrumentals) raw vocals. Did they have interesting material? Not so much -- the tunes were often elementary and derivative. They shine brightest when the organ gets most assertive and the singing lets loose in a fashion that many rock and soul labels would have toned down, as heard on the unissued fast shuffle "Greyhound" or the 1966 instrumental "Rufus," where the Booker T resemblance grows. Booker T. & the MG's, however, to take one point of reference, had far better riffs and arrangements, and to be harsh it's not too much of a surprise that these cats didn't break out of their region, as much entertainment as they must have provided at local shows and dances.
~ Richie Unterberger, All Music Guide
1970: Dave Baby Cortez - The Isley Brothers Way Music » Blues » Rhythm-n-Blues
1970: Dave Baby Cortez - The Isley Brothers Way
Artist: Dave "Baby" Cortez
Album: The Isley Brothers Way
Label: T-Neck Records
Year: 1970
Format, bitrate: Mp3, 256 kBit/s (Lp-rip)
Size: 51 MB


David Clowney (aka Dave "Baby" Cortez) played the organ with the same aggression as a pro football linebacker: he was theatrical, dressed loud, and loved playing exaggerated scales. He scored with "The Happy Organ," a million-seller in the '60s. On his only LP for the Isley Brothers' T-Neck subsidiary, he performs instrumentals of the Isleys and other T-Neck artists' songs. Funky versions of "It's Your Thing," the insidious "I Turned You On," and "I Know Who You Been Socking It To" will get your feet's attention. A cover of "Love Is What You Make It" by the Sweet Cherries is a decent organ-led ballad. Baby's rendition of Judy Clay's "Somebody's Been Messin' with My Thing" is as solid as the vocal. Far too brief, it only takes 26 minutes to hear all ten songs.
~ Andrew Hamilton, All music Guide
2013: Orgone - Fuzzed Up Music » Blues » Rhythm-n-Blues

2013: Orgone - Fuzzed Up
Artist: Orgone
Album: Fuzzed Up
Year: 2012; release: 2013
Label: Deep East Music
Frmat, btrate: mp3-320Kbps
Size: 65,8 mb
Total time: 0:30:50


Live From LA's Finest, Funk band Orgone presents a 12-track selection of "roughed up riffin' guitar fuzz". As a sound of Funk where the guitar is a threatening and dominant part, these huge grooves carry an edge which projects the dangerous cinematic vibes of Library, 70's American film scores and Rock combined. For a revival of a raw an edgy sound to make your face scrunch, look no further than this Los Angeles collective of musicians. ~ Amazon.com



1966: Brother Jack McDuff - A Change Is Gonna Come Rhythm-n-Blues, Soul-Jazz
1966: Brother Jack McDuff - A Change Is Gonna ComeArtist: Brother Jack McDuff
Album: A Change Is Gonna Come
Label: Atlantic Masters/Warner Jazz
Year: 1966
Release 2005
Format: WAV
Time: 36:22
Size: 244 MB

Repost with a new link from heschgse

This album is an elegant mix of soul and sambas, interspersed with a pair of distinctly blues-focused pieces. Jack McDuff's Hammond B-3 organ surges and trills and rocks, at times seeming to talk as the lead instrument on renditions of works as different as Ray Charles' "What'd I Say" and Sam Cooke's "A Change Is Gonna Come." His calls and responses with the five-man brass section on several of the tracks here comprise another highlight, but even the slow numbers, such as "No Tears," offer virtuoso playing by McDuff. The tempo and texture shifts throughout keep this record continually interesting to the listener, and the range of influences, from jazz to gospel with side trips into the blues (culminating with a seven-minute epic in the latter genre), gives a lot of great playing for everybody.
~ Bruce Eder, All Music Guide
1968: Freddie McCoy - Soul Yogi Rhythm-n-Blues, Soul-Jazz
1968: Freddie McCoy - Soul Yogi
Artist: Freddie McCoy
Album: Soul Yogi
Label: Prestige - PR 7561
Year: 1968
Format, bitrate: Mp3, 192 kBit/s (Lp-rip)
Size: 52 MB



Freddie McCoy (1932 - 2009) was an American soul jazz vibraphonist. McCoy started out with Johnny "Hammond" Smith in 1961, then released seven albums for Prestige Records and then one in 1971 for the short-lived Cobblestone Records, before disappearing from jazz.
1968/69 Otis Spann The complete Blue Horizon Sessions Music » Blues » Modern electric blues » Modern Electric Chicago Blues
1968/69 Otis Spann The complete Blue Horizon Sessions
Artist: Otis Spann
Album: Complete Blue Horizon Sessions 2CD
Label: Sony
Year:1968/69 Release:2006
Format: WAV
Time: 2:11:45
Size: 946MB


Although Otis Spann will always be known as the piano player in the Muddy Waters Band, his solo work should not be overlooked. Possessing a beautifully expressive voice, Spann was also a facile songwriter, and freed of the restrictions inherent in a working electric blues band, his solo sides find him stretching out on piano as well. This two-disc set is a true treasure, containing a badly needed remixed version of 1969's The Biggest Thing Since Colossus LP plus several alternate takes, false starts, and unreleased songs. The Colossus sessions took place in January 1969 (there are a couple tracks here that date from late in 1968), a little over a year before Spann's death in 1970, and found him working with Blue Horizon label owner Mike Vernon and the Peter Green-era version of Fleetwood Mac (who Vernon managed). Spann is in fine voice here, delivering artful blues numbers that are just this side of jazz in execution, and the Fleetwood Mac boys are surprisingly sympathetic to it, making this a delightful release and one that no real fan of Spann should be without.
~ Steve Leggett, All Music Guide
1965: Billy Larkin & The Delegates - Hole In The Wall Music » Blues » Rhythm-n-Blues
1965: Billy Larkin & The Delegates - Hole In The Wall
Artist: Billy Larkin & The Delegates
Album: Hole In The Wall
Label: World Pacific ‎ WP-1837
Year: 1965
Format, bitrate: Mp3, 320 kBit/s
Size: 73 MB

Organist Billy Larkin & The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when people discovered they could dance to it. They had an appeal that far exceeded just the jazz listener.
Basically an organ, guitar and drums jazz trio with heavy emphasis on the blues, Billy Larkin & The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a distinctive style. They are best known for their hit 'Pigmy'. Billy Larkin & The Delegates recorded 7 albums.
1964: Billy Larkin & The Delegates Pigmy Rhythm-n-Blues, Funk-Jazz
1964: Billy Larkin & The Delegates  Pigmy
Artist: Billy Larkin & The Delegates
Album: Pigmy
Label: Aura Records
Year: 1964
Format, bitrate: Mp3, 128 kBit/s
Size: 35,2 MB

Organist Billy Larkin & The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when people discovered they could dance to it. They had an appeal that far exceeded just the jazz listener.
Basically an organ, guitar and drums jazz trio with heavy emphasis on the blues, Billy Larkin & The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a distinctive style. They are best known for their hit 'Pigmy'. Billy Larkin & The Delegates recorded 7 albums.
1977: Clifton Chenier & His Red Hot Louisiana Band Music » Blues » Rhythm-n-Blues

1977: Clifton Chenier & His Red Hot Louisiana Band
Artist: Clifton Chenier
Album: Clifton Chenier & His Red Hot Louisiana Band
Label: Arhoolie Records ‎ 1078
Year: 1977
Format, bitrate: mp3-320Kbps
Size: 110 mb
Duration 47:51

Like many before me, my early interest as a teenager in jazz, funk and blues led me to the music of New Orleans. That interest piqued further when I found a collection of sides recorded for Atlantic by Professor Longhair in the 1950s at a public library , and then went out and bought everything I could get my hands on. Before long my ear wandered up the countryside to the bayous and swamps where music sounded a little different than in the city, namely to cajun and zydeco records. Not speaking any French, let alone Acadian or Creole, I couldnt understand a word of much of it, yet I still felt like I connected to the music. Before the term zydeco came into common musical parlance outside its region of origin, Clifton Chenier was said to have played the blues accordion. That description makes sense. Chenier, who had been recording since the early 60s, had a style capable of filling the space usually filled by a harmonica in a blues band and blending it with the piano or organ riffs you would expect from a keyed instrument. Reeds and keys together in one place. But his musical ladle also dipped into a stew containing fiddle tunes from around Louisianas Cajun belt, along with rhythm and blues, boogie-woogie, and early rock and roll music. His band briefly featured his brother Morris Chenier on fiddle in the 60s, but his lineups more typically counted on saxophone, electric guitar, bass, organ and piano to back him up. And he was always accompanied by his brother Cleveland on the washboard, who is credited with being the first washboard player to wear his instrument draped over the torso in a customized breastplate-type thing. Cleveland would tap out his rhythms using up to a half-dozen bottle openers in each hand. ~ labbergasted-vibes.blogspot.de
2013: Matt Kane Trio - Suit-Up! Music » Blues » Jazz-Blues

2013: Matt Kane Trio - Suit-Up!
Artist: Matt Kane Trio
Album: Suit-Up!
Label: Bounce-Step
Year: 2013
Format, bitrate: mp3-320Kbp
Time: 55 minutes
Size: 137 MB

Trios are one of the music world's great make-or-break tests. Solo and duet works are interesting, sometimes arresting, but the trio is the real demarcation point for bands. Most ensembles start thereguitar, bass, drums usuallyand then bulk up, but the cats who have the most in the way of chops and confidence keep it stripped down and prefer to walk the tightrope. That's what Matt Kane's done as a percussionist, sitting athwart Dave Stryker on guitar and Kyle Koehler on organ. If you're thinking in terms of John Abercrombie's favored milieu, that's a good start, 'cause John revels in this kind of atmosphere, but Matt's gig is appreciably differentiated, preferring the bop/trad/lo-fusion side rather than Abercrombie's often spectacular outings (and, hell, even when he's laying back, Abercrombie's daunting).

No, this is more in the mode of Pat Martino, early George Benson, Grant Green, Jimmy Smith, that sort of lamplit beatnik/hipster milieu inhabiting the back alley juice joints and low-profile dives specializing in audiences who engage cerebrum while snapping fingers and tapping feet. Kane's the absolute foundation here, and his solid approach was founded when he years ago dropped in on one of Kansas City's highly respected Mutual Musicians Foundation's jam sessions, fucked up mid-song, and was told by famed area bassist Daahoud Williams that, hey bubba, "kids night is on Wednesday". OUCH! Well, Kane licked his wounds for the next two years woodshedding, and, not one to back down from a challenge, returned to the exact same place and the exact same guy, but this time to a very warm reception from Williams, who became his mentor.

If that sounds like a zen tale, it is. Art's not all that different from a demanding spiritual practice (just ask Coltrane), and Kane had the grit and internal resiliency to keep the grail firmly in mind. With this CD, he's reached his proper sphere and perhaps the closest comparative that may be drawn is to the estimable Jack DeJohnette, 'cause when Kane's on fire, as in Shadowboxinghoo boy!, stand back and hold onto your wig. Anyone who thinks drummers just keep time will be burnt and enlightened. From start to finish, his performance is pure finesse. Good thing, too, because Stryker and Koehler know their milieu and provide a number of moody landscapes requiring a broad palette of emotions and cogitations. Thus, if I haven't made it already obvious, don your thinking cap and shed the daily grind when you nab this disc, 'cause it'll take you away from the banality of the everyday, reminding one and all that there's a fuck of a lot more to life than hedge funds, successions of duplicitous presidents, and radio shlaga. When you hear the take on Earth, Wind, and Fire's That's the Way of the World, you'll be racing back to the days of Hank Crawford, Charie Byrd, Jimmy McGriff, and an era that's slowly being rediscovered.
~ Mark S. Tucker, Folk & Acoustic Music Exchange
1966: Billy Larkin & The Delegates - Aint That A Groove Rhythm-n-Blues, Soul-Jazz, Funk-Jazz
1966: Billy Larkin & The Delegates - Aint That A Groove
Artist: Billy Larkin & The Delegates
Album: Aint That A Groove
Label: World Pacific Records
Year: 1966
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Size: 95 MB


Organist Billy Larkin & The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when people discovered they could dance to it. They had an appeal that far exceeded just the jazz listener.
Basically an organ, guitar and drums jazz trio with heavy emphasis on the blues, Billy Larkin & The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a distinctive style. They are best known for their hit 'Pigmy'. Billy Larkin & The Delegates recorded 7 albums.
1975: Reuben Wilson - Got to Get Your Own Rhythm-n-Blues, Soul-Jazz, Funk-Jazz
1975: Reuben Wilson - Got to Get Your Own
Artist: Reuben Wilson
Album: Got to Get Your Own
Label : DUSTY GROOVE
Year: 1975
Release: 2008
Format, bitrate: Mp3, 320 kBit/s
Time: 35:00
Size : 82 MB
AMG rating: 1975: Reuben Wilson - Got to Get Your Own

REPOST with a new link frm Mr.egroj

CD bully

On his only album for Chess' Cadet imprint, B-3 organist Reuben Wilson pulled the second of his now classic career change-ups. His first was on 1971's Set Us Free, his final album for Blue Note. On that date Wilson and producer George Butler brought in a female backing chorus, a large soul band, and arranger Wade Marcus for a driving set of psychedelic soul, hard funk, and rockist B-3 workouts. Wilson moved to Groove Merchant for a couple of years where he released two solid albums with producer Sonny Lester before coming to Cadet in 1975 for this ill-fated date. Chess was in dire financial straits by this time and was soon to close its doors; the album became a cutout almost immediately. It languished in the bins and in record stores and distribution warehouse basements until sample crazy beatheads and British DJs picked up on it in the late 1980s.
Thom Jurek, All Music Guide
1995: Tony Z - Get Down With The Blues Music » Blues
1995: Tony Z - Get Down With The Blues
Artist: Tony Z
Album: Get Down With The Blues
Label: Tone-Cool
Year: 1995
Format, bitrate: Mp3, 320 kBit/s
Time: 57:22
Size: 143 MB


If you like Hammond organ and you like blues, then you can't go wrong with this CD. Over half the pieces are instrumental, including some fine guitar and sax playing. Tony Z is a master of the Hammond, playing the tone bars as well as the notes with real class. His vocals are pretty decent, too.
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