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2017. június 17., szombat

17-06-2017 18:27 ~ 50 FAVOURiTE tracks 1959-1965 2h 51m

17-06-2017 18:27 ~ 50 FAVOURiTE tracks 1959-1965 2h 51m >>Buddy Cole, Nina Simone, Jimmy Rushing, The Beatles, Tony Sheridan, Dave 'Baby' Cortez, Milt Jackson & Wes Montgomery, Tom Dissevelt, Kid Baltan, Martin Denny, Alexis Korner's Blues Incorporated, Jimmy McGriff, Jerry Lee Lewis, The Hollies, Koerner Ray and Glover, John Fahey, Wynton Kelly Trio / Wes Montgomery<<

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Although primarily known as a pianist, he had an abiding love for the organ, both Hammond and theatre pipe. In his capacity as a studio musician, he worked extensively with Henry Mancini, who used his distinctive Hammond organ sound for the sound track to the TV series "Mr. Lucky." He also recorded several albums for Warner Brothers records on piano, Hammond organ and theatre pipe organ.
The Lady is a Tramp 1:58
Georgia on My Mind 3:44
Powerhouse 1:54
from Powerhouse! 1959

Eunice Kathleen Waymon (21 February 1933 – 21 April 2003), better known by her stage name Nina Simone, was an American singer-songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, soul, folk, rhythm and blues, gospel, and pop.
Nina Simone 
Blue Prelude (Joe Bishop, Gordon Jenkins) 3:15
That's Him Over There (Lew Spence, Marilyn Keith) 2:28
Can't Get Out of This Mood (Frank Loesser, Jimmy McHugh) 2:30
from The Amazing Nina Simone 1959
There is a remarkable amount of variety on this disc, Nina Simone's second recording... She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented.

Highly popular blues and jazz vocalist of the 1930s & '40s who fronted the Count Basie band... He was known as "Mister Five-By-Five" -- an affectionate reference to his height and girth -- a blues shouter who defined and then transcended the form. The owner of a booming voice that radiated sheer joy in whatever material he sang, 
Jimmy Rushing
You Can't Run Around (Count Basie / Jimmy Rushing) 3:16
Did You Ever (Jimmy Rushing) 3:32
Good Rockin' Tonight (Roy Brown) 3:16
from Rushing Lullabies 1960
Jimmy Rushing recorded several albums for Columbia during 1959-60; although in his mid-50s, he was still in peak form. This CD reissue (which has a previously unissued "The Road of Love") finds Rushing joined by both pianist Ray Bryant and organist Sir Charles Thompson, Buddy Tate on tenor, guitarist Skeeter Best, bassist Gene Ramey and drummer Jo Jones. The combination works quite well...

The most popular and influential rock act of all time, a band that blazed several new trails for popular music.
The Beatles, Tony Sheridan
With his 1961 recording of "My Bonnie," Tony Sheridan forever secured rock & roll immortality; while the song was certainly a respectable hit during its heyday, its place in music history is instead assured as the first studio session to feature the Beatles. 
Ain't She Sweet (Milton Ager / Jack Yellen) 2:14
My Bonnie (Charles Pratt / Traditional) 2:43
Let's Dance (Jim Lee / Tony Sheridan) 2:36
Ya Ya, Pts. 1-2 (Lee Dorsey / Morris Levy / Clarence Lewis / Morgan Robinson) 5:10
from In The Beginning 1960
Before beginning their recording career, the Beatles recorded a few tracks in Hamburg in 1961 as the backing group for British singer Tony Sheridan. Reissued in countless different packages around the globe after the Beatles became famous, this should in no way be considered their first album; not only were their skills rudimentary, but Sheridan takes all but one of the lead vocals on this set of fairly tame covers of popular and early rock standards. Several tracks are of interest: "Ain't She Sweet," with a lead vocal by John Lennon, was a small American hit single in 1964... and "My Bonnie," with Paul McCartney's shouts clearly audible in the background, was responsible for bringing the group to the attention of Brian Epstein.
Tony Sheridan and original Hamburg Beatles

Though hardly a soulful, bluesy master like Jimmy Smith or dashing experimentalist like Larry Young, organist Dave "Baby" Cortez made his mark in the '50s,'60s, and '70s as a capable, often clever soloist and pop instrumentalist.
Dave 'Baby' Cortez
Movin’ and Groovin’ 2:15
Honey Baby 2:41
Summertime 2:59
September Song 3:29
from The Happy Organ and Other Great Recordings 1956 - 1961
Dave 'Baby' Cortez hasn't received much attention as far as reissues are concerned so Jasmine has decided to put together what is the best and most comprehensive collection of hits and rarities.
Although light on charting hits, Dave 'Baby' Cortez was able to craft many catchy melodies, riffs and hooks that fans of organ music and a soulful, bluesy sound will enjoy greatly. Oh, and just for good measure we have thrown in his biggest hit 'The Happy Organ' to really get your feet tapping.
Fully detailed liner notes with a biography of his career achievements and a selection of early album tracks that can really be given the moniker of 'ultra-rare', this is another must have release! (JASMINE Records)

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Milt Jackson & Wes Montgomery
Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely. / The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic. 
S.K.J. (Milt Jackson) 5:15
Stairway to the Stars (Matty Malneck / Frank Signorelli) 3:38
Jingles (Wes Montgomery) 5:34
from Bags Meets Wes 1961
Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones)...

Tom Dissevelt (1921 - 1989) was a Dutch jazz musician and electronic music pioneer. His mixture of jazz and experimental electronics is most widely-known in the soundtrack for the Oscar-winning short film "Glas" (1958).
Composed By Tom Dissevelt and Produced by Tom Dissevelt and Kid Baltan
Kid Baltan is an early pseudonym of Dutch electro-acoustic composer Dick Raaijmakers, "Kid" being simply a reversal of his first name and "Baltan" being a reversal for the NatLab studios of Philips where he worked.
Syncopation 3:03
Whirling 3:32
from Electronic Movements 1962

Pianist, composer, arranger, and conductor who invented the exotica style, combining easy listening, Latin, and Hawaiian. 
Martin Denny
A Taste of Honey 3:13
Black Orchid (Cal Tjader) 2:56
Route 66 (Nelson Riddle) 2:18
from A Taste of Honey 1962
Taking a tip from George Shearing, Martin Denny cruised through most of the '60s with a slew of bossa nova and jazz cocktail albums. Denny's late-'50s exotica records had established him as a name to reckon with in bachelor pad circles, but were only good for a limited stretch. Denny didn't forsake this period completely, though, when he turned to jazz; on this release at least, one hears bits of his earlier South Seas and Hawaiian backdrops in the bongo accompaniment and occasional leftfield percussion accent...

An inspirational figure in British R&B music, responsible for bringing together many British blues legends and furthering the genre.  / Without Alexis Korner, there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience.
Alexis Korner's Blues Incorporated
Gotta Move (Alexis Korner) 2:28
Rain Is Such a Lonesome Sound (Jimmy Witherspoon) 3:46
I Got My Brand on You (Willie Dixon) 3:46
Spooky But Nice (Cyril Davies) 2:57
from R&B From The Marquee 1962
Its title notwithstanding, R&B from the Marquee was not a live album, nor was it cut at the Marquee: it was actually done at Decca Records' London studio, albeit in one long day's work and effectively live-in-the-studio. It was also the place where British blues began, at least as a recording proposition. Blues played by Britons had been part of the underground music scene since the mid-'50s, and Blues Incorporated had been a going concern in one form or another, initially guitarist Alexis Korner and harpist/singer Cyril Davies (actually, maybe the first two Britons to play blues); but by this time, the group also included Dick Heckstall-Smith (tenor sax, backing vocals), Keith Scott (piano), Spike Heatley (upright bass), and Graham Burbridge (drums), with Long John Baldry handling some lead vocals. For this record, Big Jim Sullivan also sang backup, and Teddy Wadmore provides a key cameo appearance for the electric bass guitar (then a new and alien instrument in this music)...

Another successful practitioner of the funky-blues and soul-jazz sound to which the Hammond B-3 is so suited  / One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification.
Jimmy McGriff
Kiko (Jimmy McGriff) 3:24
All Day Long (Kenny Burrell) 3:47
Hello Betty 4:53
from Jimmy McGriff At The Organ 1963
McGriff with Rudolph Johnson on soprano and tenor sax, Larry Frazier on guitar and Jimmie Smith on drums...

A child prodigy on the boogie-woogie piano who became one of the greatest names in '50s rock & roll and '60s country music.  / Is there an early rock & roller who has a crazier reputation than the Killer, Jerry Lee Lewis? His exploits as a piano-thumping, egocentric wild man with an unquenchable thirst for living have become the fodder for numerous biographies, film documentaries, and a full-length Hollywood movie. Certainly few other artists came to the party with more ego and talent than he and lived to tell the tale.
Jerry Lee Lewis
End Of The Road 1:49
It'll Be Me 2:44
Great Balls Of Fire 1:54
Sweet Little Sixteen 2:32
from Up Through The Years 1956-1963 (1987)

One of the leading lights of the '60s British Invasion, distinguished by their high harmonies and ringing guitars. / When the Hollies -- one of the best and most commercially successful pop/rock acts of the British Invasion -- began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time...
The Hollies
Nitty Gritty/Something's Got a Hold on Me (Lincoln Chase) 4:07
To You My Love (Allan Clarke / Tony Hicks / Graham Nash) 2:04
Too Much Monkey Business (Chuck Berry) 2:22
from In The Hollies Style 1964
Released only ten months after their debut album, Stay With the Hollies, their second album was a huge leap forward in every respect. Their famous airtight harmonies were now in place, and the sloppiness of the instrumental attack gone. Most important, the group developed enormously as songwriters. Eight of the 12 tracks were Hollies originals and quite skillful in their mastery of the British Invasion essentials of driving, catchy melodies and shining harmonies...

In today's climate of a blues band seemingly on every corner with "the next Stevie Ray Vaughan" being touted every other minute, it's hard to imagine a time when being a white blues singer was considered kind of a novelty. But in those heady times of the early '60s and the folk and blues revival, that's exactly how it was. But into this milieu came three young men who knew it, understood it, and could play and sing it; their names were Koerner, Ray & Glover. They were folkies, to be sure, but the three of them did a lot -- both together and separately -- to bring the blues to a white audience and in many ways, set certain things in place that have become standards of the Caucasian presentation of the music over the years.
Koerner, Ray and Glover
Black Dog (Traditional) 2:08
Black Betty (Lead Belly) 0:59
Crazy Fool ("Spider" John Koerner) 3:40
Fannin Street (Lead Belly / Huddie Ledbetter) 5:05
from Lots More Blues, Rags and Hollers 1964
John Koerner, Dave Ray and Tony Glover, who emerged from the same University of Minneapolis music scene that produced Bob Dylan, were the best white folk blues group of their day. This reissue of one of their influential mid '60s albums -- which sounds at times like a cross between the Kingston Trio and Sonny Boy Williamson -- provides ample evidence of that. Koerner and Ray were first-rate guitarists, Glover could play harmonica like nobody's business and they all sang with style, enthusiasm, and a dash of humor. Plus, they had great material, some from blues giants like Lead Belly and Memphis Minnie, but much of it original...

One of acoustic guitar's prime innovators (and eccentrics), he mixed traditionalist forms (folk, blues, country) with a decidedly modernist sensibility. 
John Fahey
Beautiful Linda Getchell (John Fahey) 1:54
Orinda-Moraga (John Fahey) 3:55
I Am the Resurrection (John Fahey) 2:53
On the Sunny Side of the Ocean (John Fahey) 3:13
from The Transfiguration Of Blind Joe Death 1965
A strange man, John Fahey, with an unusual set of guitar styles. This album, originally released on Riverboat Records and later reissued by Fahey's own Takoma label, has a lot of rough edges in terms of the recording but a tremendous amount of power when it comes to the music. Fahey was at the top of his game, alternately playful and dark, so there's never a dull moment. There is always something new to be heard on each playing.

The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic. / Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely.
Wynton Kelly Trio / Wes Montgomery
A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. 
No Blues  (Miles Davis) 12:56
Unit 7 (Sam Jones) 6:43
What's New? (Johnny Burke / Bob Haggart / Robert Haggart) 6:11
from Smokin' At the Half Note 1965
Smokin' at the Half Note is essential listening for anyone who wants to hear why Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this "the absolute greatest jazz guitar album ever made," and with performances of this caliber ("Unit 7" boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio...

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