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Sunday, May 19, 2024

Johnny Hodges & Wild Bill Davis • Jazz Tribune



Review by Scott Yanow
This enjoyable double-CD from the RCA's Jazz Tribune series combines together a pair of sessions from altoist Johnny Hodges and organist Wild Bill Davis. The earlier set has the pair joined by guitarists, Mundell Lowe and Dickie Thompson, bassist Milt Hinton, and drummer Osie Johnson, while the second session has trombonist Lawrence Brown, Bob Brown on tenor and flute, Thompson returning on guitar, and drummer Bobby Durham. Another difference between the two dates is that the later album (which has been reissued on CD in the Bluebird series) was recorded in concert. The music generally sticks to standards (many written by Duke Ellington), ballads and an occasional blues. Hodges and Davis were a surprisingly complementary team (their collaborations were a brief vacation from their usual settings), and they seem to inspire each other. Fine swing-based music.
https://www.allmusic.com/album/johnny-hodges-wild-bill-davis-vols-1-2-mw0000889975

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Reseña de Scott Yanow
Este agradable doble CD de la serie Jazz Tribune de la RCA combina un par de sesiones del contralto Johnny Hodges y el organista Wild Bill Davis. En la primera, la pareja está acompañada por los guitarristas Mundell Lowe y Dickie Thompson, el bajista Milt Hinton y el batería Osie Johnson, mientras que en la segunda sesión participan el trombonista Lawrence Brown, Bob Brown al tenor y la flauta, Thompson vuelve a la guitarra y el batería Bobby Durham. Otra diferencia entre las dos fechas es que el último álbum (que se ha reeditado en CD en la serie Bluebird) se grabó en concierto. En general, la música se ciñe a estándares (muchos escritos por Duke Ellington), baladas y algún blues ocasional. Hodges y Davis formaban un equipo sorprendentemente complementario (sus colaboraciones fueron unas breves vacaciones de sus escenarios habituales), y parecen inspirarse mutuamente. Buena música basada en el swing.
https://www.allmusic.com/album/johnny-hodges-wild-bill-davis-vols-1-2-mw0000889975


 



Suggested video: Delvon Lamarr Organ Trio Festival International of Jazz of Montréal 2018

 

 

Delvon Lamarr - Hammond organ
Jimmy James - guitar
David McGraw - drums

Recording: July 2 2018 - Montreal Jazz Festival

 
 

Suggested video: Legends of Jazz with Ramsey Lewis - NEA Jazz Masters


 

Legends of Jazz with Ramsey Lewis - NEA Jazz Masters (with Tony Bennett, Chick Corea and Ray Barretto. Season One, 2006 ep. 13)

he final episode in the series, the NEA Jazz Masters 2006, featuring Tony Bennett, Chick Corea, and Ray Barretto, was taped before a live audience on January 12, coinciding with the International Association for Jazz Education (IAJE) conference in New York City.
Tony Bennett, who joins the late Ray Barretto and Chick Corea in the episode entitled, NEA Jazz Masters 2006, said,
“I hope that the show will help everybody realize that this is American music. It was created here. It belongs here.
I travel all over the world and every country shows me what they do. This is what we’ve created. The British show us theater, the Italians show us music and art, the French painting and cooking and the German’s have all this science. So when all is said and done, 50 years from now, we’ll be bowing to Dizzy Gillespie and Charlie Parker.” This episode is in memory of Ray Barretto (1929-2006).

Setlist:
Armando's Rhumba
I Mean You
Dear Lord  
Little Jam 

 
 

Herbie Hancock • Quartet

 



Review by Richard S. Ginell
This is an extremely symbolic album, for Herbie Hancock and the V.S.O.P. rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old Wynton Marsalis. Recorded during a break on a tour of Japan, a month before Marsalis made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating Miles, Freddie Hubbard, and Clifford Brown, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of Monk standards, and then they progress into the mid-'60s Miles Davis post-bop zone, with Ron Carter and Tony Williams driving Marsalis and Hancock relentlessly forward. Several staples from the Miles/V.S.O.P. repertoire turn up ("The Eye of the Hurricane," "The Sorcerer," "Pee Wee"), and there is one wistful ballad, "I Fall in Love Too Easily," where Marsalis sounds a bit callow, not yet the master colorist. Hancock remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship. This looked like it would be a Japan-only release, but since the buzz on Marsalis was so loud, CBS put it out in the U.S. in 1983, fanning the flames even more.
https://www.allmusic.com/album/quartet-mw0000201262

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Reseña de Richard S. Ginell
Este es un álbum extremadamente simbólico, ya que Herbie Hancock y la sección rítmica V.S.O.P. esencialmente pasan la antorcha del renacimiento del jazz acústico de los 80 a la generación más joven, personificada por Wynton Marsalis, que entonces tenía 19 años. Grabado durante un descanso en una gira por Japón, un mes antes de que Marsalis grabara su primer álbum en Columbia, el trompetista adolescente, técnicamente intrépido, interpreta sobre todo al estudiante ansioso, imitando a Miles, Freddie Hubbard y Clifford Brown, obviamente disfrutando del reto de seguir el ritmo de sus compañeros de clase mundial. Las cosas empiezan de forma bastante convencional con un par de estándares de Monk, y luego progresan hacia la zona post-bop de Miles Davis de mediados de los 60, con Ron Carter y Tony Williams conduciendo a Marsalis y Hancock implacablemente hacia adelante. Aparecen varios temas básicos del repertorio Miles/V.S.O.P. ("The Eye of the Hurricane", "The Sorcerer", "Pee Wee"), y hay una balada melancólica, "I Fall in Love Too Easily", en la que Marsalis suena un poco apagado, sin ser todavía el maestro del color. Hancock sigue siendo un pianista acústico complejo y estimulante, y los años de música disco no han hecho mella en su musicalidad. Parecía que iba a ser un lanzamiento exclusivo para Japón, pero como el rumor sobre Marsalis era tan fuerte, la CBS lo publicó en EE.UU. en 1983, avivando aún más las llamas.
https://www.allmusic.com/album/quartet-mw0000201262

 




www.herbiehancock.com ...



Jimmy Witherspoon & Groove Holmes • Spoon & Groove

 


Review by Richie Unterberger
This was originally released as Groovin' & Spoonin' on Olympic (7107). It's a decent if unremarkable set of blues-jazz, heavier on the blues, with organist Groove Holmes being Witherspoon's most important sideman on this date (which also features tenor saxophonist Teddy Edwards). Several of the numbers are shopworn standards like "Take This Hammer," "Key to the Highway," "Please Send Me Someone to Love," and "Since I Fell for You," though everything's performed with taste. If you're looking for Witherspoon blues-jazz with an organ groove, the 1963 album Evenin' Blues (1963) is more highly recommended, though 'Spoon & Groove has no serious flaws.
https://www.allmusic.com/album/spoon-groove-mw0000188057

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Reseña de Richie Unterberger
Esto fue originalmente lanzado como Groovin' & Spoonin' en Olympic (7107). Es un decente aunque poco llamativo conjunto de blues-jazz, más pesado en el blues, con el organista Groove Holmes siendo el sideman más importante de Witherspoon en esta fecha (que también cuenta con el saxofonista tenor Teddy Edwards). Varios de los números son estándares de la tienda como "Take This Hammer", "Key to the Highway", "Please Send Me Someone to Love" y "Since I Fell for You", aunque todo está interpretado con gusto. Si buscas el blues-jazz de Witherspoon con un ritmo de órgano, el álbum de 1963 Evenin' Blues (1963) es más recomendable, aunque 'Spoon & Groove no tiene graves defectos.
https://www.allmusic.com/album/spoon-groove-mw0000188057