Sunday, November 26, 2023

Bill Black's Combo - Greatest Hits

Time: 24:03
Size: 55.1 MB
Styles: Funk/Soul/R&B
Year: 2005
Art: Front

[2:50] 1. White Silver Sands
[2:08] 2. Don't Be Cruel
[2:17] 3. Smokie Part 2
[2:29] 4. Josephine
[2:05] 5. Hearts Of Stone
[2:00] 6. Tequila
[2:15] 7. Happy Organ
[2:09] 8. Memphis
[3:11] 9. Wipe Out
[2:36] 10. Kansas City

Bill Black had two distinct phases of his career in which he made a notable mark on early rock & roll music: first as the rockabilly bass player for Elvis Presley and then as a bandleader of Bill Black's Combo, which scored numerous instrumental hits in the early '60s. Such is the way of the world that his most artistically important contributions, as one-third of the rockabilly trio that Elvis Presley fronted at the beginning of his career, brought him much less commercial reward than the far less remarkable hit records under his own name.

Black first recorded for Sun Records in early 1954 as a member of a country band, Doug Poindexter and the Starlite Wranglers, who also included guitarist Scotty Moore. That group issued just one single for Sun, but that was enough to make the talents of Black and Moore known to Sun head Sam Phillips, who put the pair together with Elvis Presley. Under the billing of Elvis Presley, Scotty, and Bill, they put out five records on Sun in 1954 and 1955, which are usually acknowledged as some of the finest rockabilly records ever done and Presley at his most youthfully uninhibited. Black was an important part of the early Presley sound with his slap stand-up bass and ebullient onstage manner.

Black and Moore continued to work with Presley until 1958, leaving his band in large part due to disputes over financial terms. Black and Moore had taken one-quarter of the royalties at the outset of Presley's career, but even after Presley had rocketed to stardom with RCA starting in 1956, they were on a mere 200 dollars/week wage. Although Moore would eventually work with Presley again, Black never did, joining a Memphis group that evolved into Bill Black's Combo in 1959. Their instrumental "Smokie," released late that year, made the Top Ten.

Bill Black's Combo stuck to the formula of "Smokie" for many of their subsequent singles: a basic shuffle beat, simple bluesy R&B riffs, and some rinky-dink organ and smoky saxophone lines on top. They weren't too imaginative, but they were quite successful, placing eight singles in the Top 40 between 1959 and 1962, including "White Silver Sands," "Josephine," "Don't Be Cruel," "Blue Tango," and "Hearts of Stone." Their sales were greatly boosted by the suitability of their instrumental rock for background music at bars, clubs, and diners, with many of their discs placed in jukeboxes. They were still charting in the Top 100 as late as 1964, the year they also toured with the Beatles during the British stars' first nationwide American tour.

Black, sadly, developed a brain tumor and died in 1965, shortly before his 40th birthday and before rock historians had a chance to allow him to tell his side of the Elvis Presley story. ~Richie Unterberger

Greatest Hits

Anita O'Day - Anita

Styles: Vocal
Year: 2011
Time: 37:53
File: MP3 @ 320K/s
Size: 88,7 MB
Art: Front

(2:25) 1. You're The Top
(3:13) 2. Honeysuckle Rose
(4:00) 3. A Nightingale Sang In Berkeley Square
(3:14) 4. Who Cares?
(3:53) 5. I Can't Get Started
(2:25) 6. Fine And Dandy
(3:39) 7. As Long As I Live
(2:28) 8. No Moon At All
(4:06) 9. Time After Time
(2:49) 10. I'll See You In My Dreams
(2:54) 11. I Fall In Love Too Easily
(2:40) 12. Beautiful Love

This is Anita is a reissue of Anita, a 1956 album by Anita O'Day that was re-released in 1962.

It was arranged and conducted by Buddy Bregman and was the first in a series of albums recorded by O'Day for Verve. Norman Granz was the producer on this album, and it was the first album to be released under his new label, thus paving the way for the future recordings from Verve, and this album was O'Day's first stint from the big band recordings of the 1940s and early 1950s.https://en.wikipedia.org/wiki/This_Is_Anita

Personnel: Anita O'Day – vocals; Milt Bernhart – trombone; Joe Howard – trombone; Lloyd Ulyate – trombone; Si Zentner – trombone; Paul Smith – piano, celeste; Corky Hale – harp; Barney Kessel – guitar; Joe Mondragon – double bass; Alvin Stoller – drums

Anita

Gerry Mulligan Quartet In Concert – Copenhagen, May 21, 1959

Styles: Saxophone Jazz
Year: 2023
Time: 67:18
File: MP3 @ 320K/s
Size: 154,8 MB
Art: Front

( 8:26) 1. Just In Time
( 4:51) 2. What Is There To Say
(10:01) 3. News From Blueport
( 8:03) 4. I Can't Get Started
( 9:45) 5. Spring Is Sprung
( 7:27) 6. Moonlight In Vermont
(14:04) 7. Blueport
( 4:39) 8. Utter Chaos

Never-issued live work from one of our favorite groups ever headed by baritone modernist Gerry Mulligan his wonderful quartet with Art Farmer on trumpet! The mix of Farmer and Mulligan is fantastic here on long tunes that stretch out even more than their studio performances of the period and, like those, given great piano-less accompaniment from the great team of Bill Crow on bass and Dave Bailey on drums!

Farmer is wonderful throughout young and a bit more raspy than later years, maybe in part because he's on trumpet instead of flugelhorn and his pairing really brings out a more relaxed, almost soulful side of Gerry at times. On two tracks, Mulligan switches his horn for a piano equally great on versions of "Spring Is Sprung" and "I Can't Get Started" next to other long tracks that include "Blueport", "What Is There To Say", "Just In Time", and "News From Blueport". © 1996-2023, Dusty Groove, Inc.https://www.dustygroove.com/item/141150/Gerry-Mulligan:Gerry-Mulligan-Quartet-In-Concert-Copenhagen-May-21-1959

Personnel: Gerry Mulligan (baritone sax); Art Farmer (trumpet); Bill Crow (bass); Dave Bailey (drums)

In Concert

Ramona Horbath Trio - Carmen's Karma

Styles: Piano Jazz
Year: 2023
Time: 49:25
File: MP3 @ 128K/s
Size: 45,9 MB
Art: Front

(5:57) 1. Claire De Bussy
(5:33) 2. Carmen's Karma
(6:08) 3. La Valse Des Asperges Jaunes
(4:55) 4. Lagniappe
(4:40) 5. Portrait de la Comtesse
(5:45) 6. Enescool
(7:18) 7. Fantaisie
(4:33) 8. Winnaretta Song
(4:34) 9. Caipirinha Com Pedro

Ramona Horvath is a virtuoso pianist with a very varied musical universe. Born in Bucharest into a family of musicians and settled in Paris for a few years, Ramona is very active on the international jazz scene. Here is the third part of the collaboration between pianist Ramona Horvath and double bass player Nicolas Rageau. It comes from a constant search for musicality and an obvious joy of playing together. We let ourselves be taken in by the joyful speech and the elegant swing that springs from it. We love.https://www.parisjazzclub.net/en/69424/concert/2020/08/23/ramona-horvath-trio-

Carmen's Karma

Imogen Ryall - Imogen Ryall sings the Charles Mingus, Joni Mitchell Songbook

Styles: Vocal
Year: 2023
Time: 41:42
File: MP3 @ 320K/s
Size: 96,0 MB
Art: Front

(0:37) 1. Boogie Stop Shuffle: Interlude
(4:24) 2. God Must Be a Boogie Man
(5:55) 3. A Chair in The Sky
(1:03) 4. Duke's Choice: Interlude
(6:30) 5. The Wolf That Lives in Lindsey
(6:37) 6. Sweet Sucker Dance
(0:27) 7. I'se a Muggin': Interlude
(5:37) 8. Self-Portrait in Three Colors
(3:25) 9. The Dry Cleaner from Des Moines
(0:41) 10. Better Git It In Your Soul
(6:22) 11. Goodbye Pork Pie Hat

There has been a plethora of vocal albums released this year. Many of them are very good and some are excellent, and this new release from Imogen Ryall falls right into the latter category. Living and working predominantly on the South Coast of England, Ryall may not be as well-known as some of her contemporaries, and that is a crime.

A regular performer around the London area, she has developed a unique voice and is at home in many settings from her role with the Anöna Trio (with Julian Nicholas and pianist Mark Edwards), along with the Jack Kendon Quintet and larger ensembles such as Mark Edwards’s band Cloggz and Terry Pack’s Trees.

A versatile musician she is at home singing jazz standards or improvising wordlessly, she is an excellent scat singer incidentally, and her range and means of communicating the meaning of a lyric exemplary.The album that she draws her influences and repertoire from, Mingus by Joni Mitchell . An album that was made in collaboration with the bassist, with the recording session beginning just prior to his passing in January 1979. Mitchell carried on to finish the album shortly after.

With the original acquiring cult status among collectors, recording some of this material again, and approaching in a contemporary jazz setting may seem a risky if not foolhardy endeavour, but Ryall and the exceptional musicians she works with have produced a magnificent album. The tunes have been tastefully rearranged and have given the music a polish ready for a new audience. That they have done so while still retaining the spirit and passion of the original composition is no mean feat. The emphasis on medium or slow tempos, and this allows Ryall to really get into the song and the lyric delivering both with poise and feeling.

‘A Chair In The Sky’ features Ryall’s voice to stunning effect, and the rhythm section are right behind her helping lift the music to another plane. The other ‘voice’ heard here is that of Julian Nicholas and his soprano saxophone is the perfect foil for the vocalist. This is also true of ‘Sweet Sucker Dance’ with an exquisite vocal from Ryall and another perfectly paced contribution from the saxophonist, this time on tenor. The arrangement also cleverly incorporates a gentle swing section before returning to the ballad tempo.

From an abstract opening, ‘The Wolf That Lives in Lindsey’, the rhythm section settles things down before Imogen with an intensely poignant delivery of the lyric with another beautiful contribution for Nicholas on soprano. Talking of the saxophonist, his tenor introduction to ‘Goodbye Pork Pie Hat’ nearly hijacks the tune before Imogen once again steps in and totally owns the song, which in fairness she has down throughout the album.

If her remarkable vocal performance was not enough, Ryall also demonstrates her prowess as a lyricist contributing the words to two Mingus compositions, ‘Duke’s Choice’ and ‘Self-Portrait In Three Colors’, with this tune featuring another standout tenor solo from Julian Nicholas and a lovely bass solo from Nigel Thomas.

Listening again today to Joni Mitchell’s Mingus from 1979 the rough edges are clear to hear. What is unmistakable though is the quality of the compositions, and the passion and conviction in which the music is delivered.

In revisiting and recasting this music, Imogen Ryall has succeeded in keeping the spirit and passion inherent in this extraordinary album, while bringing something very personal to bear.https://jazzviews.net/imogen-ryall-sings-the-charles-mingus-joni-mitchell-songbook/

Personnel: Imogen Ryall (voice); Julian Nicholas (tenor & soprano saxophones, penny whistle); David Beebee (piano); Nigel Thomas (double bass); Eric Ford (drums & percussion)

Thank You Nobody's Tunes!!

Imogen Ryall sings the Charles Mingus/Joni Mitchell Songbook