McCoy Tyner - Live At The Festival de Varsóvia (2005)

McCoy Tyner - Live At The Festival de Varsóvia (2005)
DVD-5 | Duração: 65 min. | 4,16 Gb | Cópia: Untouched
Vídeo: PAL, MPEG de vídeo em 8 745 Kbps, 720 x 576 (1.333) em 25.000 fps | Áudio: AC-3 2 canais a 192 Kbps
Gênero: Jazz, Jazz Mainstream | Gravadora: HHO Ltd

Este passeio, ao vivo solo de Mccoy Tyner foi gravado no Festival de Jazz de Varsóvia (aka Jazz Jamboree Varsóvia) em 27 de outubro de 1991. Tyner ramificou por conta própria no final dos anos 1960, deixando Coltrane para a incursão mais em sua estendida explorações free jazz com a esposa Alice substituindo Tyner no piano.No entanto, embora seu estilo prodigioso é bem adaptado a ele, Tyner não iria gravar um álbum solo até que o tributo Coltrane famoso e excelente, Echoes of Amigo, lançado em 1972. Ao longo da década de 70, Tyner tipicamente fronted bandas maiores, não retornando para concertos a solo, até uma série de recordes Blue Note entre 1989 e 1990 (Revelations, coisas não são o que costumava ser (também contendo alguns duetos), e Soliloquy). Infelizmente, essas datas de solo tendem para o calmo e balada, pelo menos em comparação com Tyner típico, cujo estilo é, na tradição de Oscar Peterson, expansivo e billowing com trovejando esquerda acordes e quebrar o pescoço-direita-runs, floresce, e trinados.

E assim, o Concerto de Varsóvia é uma tampa de boas-vindas aos passeios solo, porque é mais energético, emocional e aventureiro. Isso pode ter algo a ver com o set-list, que inclui apenas dois padrões (Belo Amor, Darn That Dream), enquanto com seis originais, duas músicas Coltrane (Giant Steps, Naima), e dois por Monk (Rhthym-A-Ning , Dream Monk). Na verdade, o ritmo dessas músicas tende para as baladas semelhantes e muitos deles são em sua essência, com enfeites marca Tyner.No entanto, é reconfortante ouvir Tyner rapidamente ataque Giant Steps e Rhthym-A-Ning (ele raramente parece interpretar Monk), oferecer alguns originais encorpado (Miss Bea, Lady De Caracas, Rio), e fechar o set com o hino Coltrane familiar, Naima. Tyner também introduz vários dos números, dando a este uma sensação agradável de concertos ao vivo.

Talentos ampla Tyner são realmente exibidos no formato solo, e é bom ouvi-lo aproveitar o espaço neste concerto. Isto, junto com Echoes of a Friend, são o solo de Tyner datas a ter.

É a grande crédito McCoy Tyner é que sua carreira depois de John Coltrane está longe de ser anti-climático. Juntamente com Bill Evans, Tyner foi o pianista de jazz mais influentes dos últimos 50 anos, com seus acordes aberturas sendo adotada e utilizada por praticamente todos os mais jovens pianista. Um virtuoso poderoso e um verdadeiro original (compare sua forma de tocar no início dos anos 60 com mais ninguém a partir do momento), Tyner (como Thelonious Monk) não alterou seu estilo tudo o que muito de seus primeiros dias, mas ele continuou a crescer e tornar-se ainda mais forte.

Tyner cresceu em Filadélfia, onde Bud Powell e Richie Powell eram vizinhos. Como um adolescente que ele gigged localmente e conheceu John Coltrane.Ele fez sua estréia de gravação com o Art Farmer-Benny Golson Jazztet, mas depois de seis meses deixou o grupo para se juntar Coltrane em que (com o baixista Jimmy Garrison eo baterista Elvin Jones) se tornaria o quarteto clássico. Alguns outros pianistas do período tinha tanto o poder eo estilo open-minded complementares para inspirar Coltrane, Tyner, mas nunca foi ofuscada pelo saxofonista inovador. Durante os anos Coltrane (1960-1965), o pianista também levou o seu próprio recorde de datas Impulse.

Depois de deixar Coltrane, Tyner lutou por um período, trabalhando como sideman (com Ike e Tina Turner, surpreendentemente) e levando seus próprios pequenos grupos; suas gravações foram consistentemente estimulante, mesmo durante os anos magros. Depois que ele assinou com Milestone em 1972, Tyner começou a ser finalmente reconhecido como um dos grandes, e ele nunca foi curto espaço de trabalho desde então. Embora tenha havido desvios ocasionais (como um quarteto de turnê 1978 all-star com Sonny Rollins e gravações em duo com Stephane Grappelli), Tyner tem jogado na maior parte com seus próprios grupos desde os anos 70, que variou de um quarteto com o Azar Lawrence e uma big band ao seu trio.

Nos anos 80 e 90, Tyner fizeram as rodadas de etiquetas (sua antigas casas Blue Note e Impulse!bem como Verve, Enja, e Milestone) antes de se estabelecer com Telarc no final dos anos 90 e liberando uma série multa de álbuns, incluindo Raízes 2000 do Jazz: McCoy Tyner Honors Piano Jazz Legends do século 20 e 2004 é Iluminações. Em 2007, Tyner voltou com o álbum McCoy Tyner Quartet estúdio apresentando o saxofonista Joe Lovano, o baixista Christian McBride eo baterista Jeff "Tain" Watts.


01. Abertura
02. Belo Amor
03. De repente
04. Giant Steps
05. Darn That Dream
06. Perca Bea
07. Bluesin "Com Bob
08. Você ensinou meu coração a cantar
09. Rhythm-n-ning
10. De Lady Caracas
11. Sonho monge
12. Rio
13. Naima

Características:
- Acesso direto Scene
- Menu Interativo

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Ray Sharpe - Texas Boogie Blues

The phrase "one-hit wonder" seems to have been invented for Texas blues and rockabilly artist Ray Sharpe. Best known for his 1959 dual market hit "Linda Lu," the singer-songwriter has parlayed interest in his early recordings into a solid following in domestic clubs and international festivals.
Described by the late producer Major Bill Smith as "the greatest white-sounding black dude ever," Sharpe's style encompasses all the best elements of early rock 'n' roll. As a singer-songwriter, he has mined Chuck Berry-type humor from the situations and wordplay in his songs. As a guitarist, he alternates snarling single note Albert King guitar bends with with twangy, free-flowing rockabilly. Moreover, after 40 years in the business, he manages to sound eternally fresh and youthful.
 
Got His Start in Fort Worth
Sharpe was born into a poor family split by divorce. One of his earliest memories is of living in a house without electricity or running water. The family's situation got marginally better when his mother relocated with her four children into a small apartment. A neighbor's radio first introduced Sharpe to the bluesy, big band sounds of T-Bone Walker, Pee Wee Crayton, and Lucky Millander. Yet, it was hearing such country-western icons as Jimmie Rodgers, Lefty Frizzell, and Hank Williams that inspired him to take up the guitar.
Young Sharpe worked as a janitor's assistant to earn the twenty-four dollars he needed to purchase his first guitar, a Stella. Once he became steady on the guitar, Sharpe played country music at high school talent shows, until he heard legendary bluesman Jimmy Reed's Vee Jay recording of "You Don't Have to Go." Reed's rudimentary style was easy to copy, and once the youngster learned it, he had all the building blocks he needed to make rock 'n' roll music.
The Sharpe family lived near a seedy bar called Cocoanut Grove. Undaunted by the bar's tough reputation, young Ray talked the owner into letting him play and sing for tips. He proved so popular that he was repeatedly asked back, and by the time he graduated from high school, music had become a lucrative alternative to training for a career as an interior decorator. Forming a band called Ray Sharpe and the Blues Wailers, he built up a good circuit of blues and rock gigs in and around the Dallas/Fort Worth area. The group briefly enjoyed a regular spot on KCUL radio, which catapulted them into one of the area's top nightspots, the Penguin Club.
Among Sharpe's early supporters were "Crying in the Chapel" tunesmith Artie Glenn and his son Darrel, who enjoyed a 1953 country hit with the song. Impressed by his Penguin Club performances, the Glenns offered Sharpe leftover time at Darrel Glenn's next session, in exchange for some guitar work. The deal yielded two strong demos, a rock 'n' roll instrumental titled "Presley" and a spirited R&B shuffle "That's The Way I Feel." The senior Glenn circulated the demo to music industry contacts, finally securing meaningful interest from independent producers Lester Sill and Lee Hazelwood.
 
"Linda Lu" Was a Big Hit
Two of the most important independent producers of their era, Hazelwood had already made a star of twangy-guitar master Duane Eddy, and the veteran Sill would eventually help Phil Spector form his ground-breaking Philles Records label. Together they saw possibilities in Sharpe, and brought him to Phoenix's Audio Sounds studios to re-cut "That's the Way I Feel," and a new song, "Oh My Baby's Gone." Today, this coupling is regarded by collectors and archivists as inspired Chuck Berry-styled rockabilly, blessed with the feel of Texas blues. However, in 1958 the Dot Records' subsidiary Hamilton Records was unable to sell the disc to the public.
Sill and Hazelwood still had faith in their young singer, and called him back to do the four-song session that was destined to jumpstart his career. Continuing in the style of his first release, Sharpe first recorded two self-penned originals, "Kewpie Doll" and "Monkey's Uncle," along with a sax-led shuffle version of the standard "Red Sails in the Sunset." He needed one more song to fill out the session.
"When I wrote 'Linda Lu' back in the 1950s, I didn't think much of it," Sharpe told Randy McNutt, author of We Wanna Boogie: The Illustrated History of the Rockabilly Movement. "A buddy of mine named Mike had asked me to write a song about his girlfriend, Linda, who used to come into the club to dance." He further recalled, "I wrote the song to rib her a little bit. You see she had a fascinating rear end, so to speak. When she danced, people watched." After playing the song in clubs, the singer forgot about it until his second recording session at Hamilton. "Then in the winter of 1958 I went to the Audio Sounds recording studio to make a record with Duane Eddy's band backing me up," Sharpe recalled. "My producer Lee Hazelwood, asked me if I had one more song to make four, and I was stuck. So I started playing 'Linda Lu" for him."
"Linda Lu," with it's half-stuttered phrasing and rhythmic guitar hook, was the perfect teen rocker. Coupled with "Red Sails in the Sunset," the song was leased to Jamie Records in Philadelphia. Initially the latter tune was considered the A-side, but once Dick Clark began playing "Linda Lu" on his American Bandstand TV program, there was no question as to which side was the hit. Eventually the record rose to number 46 on the pop charts and number eleven on the R&B charts. It might have garnered more success, but the Blues Wailers felt Sharpe would be abandoning them by playing with the customary local musicians on tour. As a result, without strong management to advise him, Sharpe bowed out of an East Coast package tour that would have surely spurred his record sales. Undeterred, producers Sill and Hazelwood capitalized on the record as best they could, replacing "Red Sails in the Sunset" with Sharpe's rocker "Monkey's Uncle," on which they held publishing rights. "Linda Lu" became something of a bar-band anthem in the United States, where it was covered by various acts, most notably blue-eyed soul rocker Wayne Cochran. In the United Kingdom, Johnny Kidd & the Pirates hit the British Top 50 with their version.
 
Returned to Texas Blues
Despite a strong rapport with producers Sill and Hazelwood, Sharpe was never able to conjure a follow-up hit to "Linda Lu." First-rate Chuck Berry-flavored teen rockers "Long John," "T.A. Blues," and "Gonna Let it Go This Time" were not successful. Eventually the singersongwriter's masters were shopped around to such small independent labels as Trey, Garex, and Gregmark, who reissued the artist's lone hit with an over-dubbed vocal chorus and called it "The New Linda Lu." This was also the title of a 1964 LP of Jamie sides and rock covers titled Welcome Back, Linda Lou. Although he was happy to finally have his own album out, the ploy didn't restore Sharpe's chart fortunes.
Sharpe returned to the Texas bar scene, where he earned a steady living playing his danceable mix of rock and blues. Occasionally, an opportunity with a big label would raise his hopes. A smart one-off single with Monument, "It's Too Cold," b/w "Let's Go, Let's Go, Let's Go," disappeared without a trace. The first of two raw and groovy soul singles with Atco, "Help Me Get the Feeling, Parts I & II," featured King Curtis's Orchestra and a young Jimi Hendrix on guitar. Best of all was the country soul number "Another Piece of the Puzzle," released by A&M in 1971. Pleading yet hopeful, the song should have signaled his mainstream reemergence, but didn't.
In an interview with Where Ya At, Sharpe tried to explain his career conundrum. "I wouldn't have called myself a blues singer but that's all I was doing in clubs. But they didn't record me because R&B was not happening in clubs. They were pursuing crossover artists, somebody that brought something different to the table. And the uniqueness with me is that I'm black but I sound white and play blues guitar. So they pitched me from one extreme to the other. I was never able to do some of the songs I wrote, like 'Justine' which had kind of a good funk/R&B thing to it."


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Clarence "Guitar" Sims - Born To Sing The Blues

A firstclass showcase for the uncompromising guitarist ... a load of steaming blues spotlighting Clarence 'Guitar' Sims (Fillmore Slim) intense, high-pitched vocals and slicing, stinging lead guitar (sporting tinges of Johnny 'Guitar' Watson, Guitar Slim, and the ever popular B.B. and Albert King). Originally recorded in 1987 at the Eli Mile High Club in Oakland, California.
The lp has been re-released with extra tracks.

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Jimmy Reed - Let The Bossman Speak!

 

There's simply no sound in the blues as easily digestible, accessible, instantly recognizable, and as easy to play and sing as the music of Jimmy Reed. His best-known songs -- "Baby, What You Want Me to Do," "Bright Lights, Big City," "Honest I Do," "You Don't Have to Go," "Going to New York," "Ain't That Lovin' You Baby," and "Big Boss Man" -- have become such an integral part of the standard blues repertoire, it's almost as if they have existed forever. Because his style was simple and easily imitated, his songs were accessible to just about everyone from high-school garage bands having a go at it, to Elvis Presley, Charlie Rich, Lou Rawls, Hank Williams, Jr., and the Rolling Stones, making him -- in the long run -- perhaps the most influential bluesman of all. His bottom-string boogie rhythm guitar patterns (all furnished by boyhood friend and longtime musical partner Eddie Taylor), simple two-string turnarounds, country-ish harmonica solos (all played in a neck-rack attachment hung around his neck), and mush-mouthed vocals were probably the first exposure most white folks had to the blues. And his music -- lazy, loping, and insistent and constantly built and reconstructed single after single on the same sturdy frame -- was a formula that proved to be enormously successful and influential, both with middle-aged blacks and young white audiences for a good dozen years. Jimmy Reed records hit the R&B charts with amazing frequency and crossed over onto the pop charts on many occasions, a rare feat for an unreconstructed bluesman. This is all the more amazing simply because Reed's music was nothing special on the surface; he possessed absolutely no technical expertise on either of his chosen instruments and his vocals certainly lacked the fierce declamatory intensity of a Howlin' Wolf or a Muddy Waters. But it was exactly that lack of in-your-face musical confrontation that made Jimmy Reed a welcome addition to everybody's record collection back in the '50s and '60s. And for those aspiring musicians who wanted to give the blues a try, either vocally or instrumentally (no matter what skin color you were born with), perhaps Billy Vera said it best in his liner notes to a Reed greatest-hits anthology: "Yes, anybody with a range of more than six notes could sing Jimmy's tunes and play them the first day Mom and Dad brought home that first guitar from Sears & Roebuck. I guess Jimmy could be termed the '50s punk bluesman."

Reed was born on September 6, 1925, on a plantation in or around the small burg of Dunleith, MS. He stayed around the area until he was 15, learning the basic rudiments of harmonica and guitar from his buddy Eddie Taylor, who was then making a name for himself as a semi-pro musician, working country suppers and juke joints. Reed moved up to Chicago in 1943, but was quickly drafted into the Navy where he served for two years. After a quick trip back to Mississippi and marriage to his beloved wife Mary (known to blues fans as "Mama Reed"), he relocated to Gary, IN, and found work at an Armour Foods meat packing plant while simultaneously breaking into the burgeoning blues scene around Gary and neighboring Chicago. The early '50s found him working as a sideman with John Brim's Gary Kings (that's Reed blowing harp on Brim's classic "Tough Times" and its instrumental flipside, "Gary Stomp") and playing on the street for tips with Willie Joe Duncan, a shadowy figure who played an amplified, homemade one-string instrument called a Unitar. After failing an audition with Chess Records (his later chart success would be a constant thorn in the side of the firm), Brim's drummer at the time -- improbably enough, future blues guitar legend Albert King -- brought him over to the newly formed Vee-Jay Records, where his first recordings were made. It was during this time that he was reunited and started playing again with Eddie Taylor, a musical partnership that would last off and on until Reed's death. Success was slow in coming, but when his third single, "You Don't Have to Go" backed with "Boogie in the Dark," made the number five slot on Billboard's R&B charts, the hits pretty much kept on coming for the next decade.

But if selling more records than Muddy Waters, Howlin' Wolf, Elmore James, or Little Walter brought the rewards of fame to his doorstep, no one was more ill-equipped to handle them than Jimmy Reed. With signing his name for fans being the total sum of his literacy, combined with a back-breaking road schedule once he became a name attraction and his self-description as a "liquor glutter," Reed started to fall apart like a cheap suit almost immediately. His devious schemes to tend to his alcoholism -- and the just plain aberrant behavior that came as a result of it -- quickly made him the laughingstock of his show-business contemporaries. Those who shared the bill with him in top-of-the-line R&B venues like the Apollo Theater -- where the story of him urinating on a star performer's dress in the wings has been repeated verbatim by more than one old-timer -- still shake their heads and wonder how Reed could actually stand up straight and perform, much less hold the audience in the palm of his hand. Other stories of Reed being "arrested" and thrown into a Chicago drunk tank the night before a recording session also reverberate throughout the blues community to this day. Little wonder then that when he was stricken with epilepsy in 1957, it went undiagnosed for an extended period of time, simply because he had experienced so many attacks of delirium tremens, better known as the "DTs." Eddie Taylor would relate how he sat directly in front of Reed in the studio, instructing him while the tune was being recorded exactly when to start to start singing, when to blow his harp, and when to do the turnarounds on his guitar. Jimmy Reed also appears, by all accounts, to have been unable to remember the lyrics to new songs -- even ones he had composed himself -- and Mama Reed would sit on a piano bench and whisper them into his ear, literally one line at a time. Blues fans who doubt this can clearly hear the proof on several of Jimmy's biggest hits, most notably "Big Boss Man" and "Bright Lights, Big City," where she steps into the fore and starts singing along with him in order to keep him on the beat.

No way is this a good or well recorded Jimmy Reed lp  but it still has a couple of momemts and it is Jimmy Reed.

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