Sophomore album from the Australian band who have received critical acclaim across the board from Jazz, Funk and Hip Hop enthusiasts. The Aussie Funk six piece are big Funk collectors and inspired by artists such as The Meters, Mickey & the Soul Generation, Jimmy Smith and Reuben Wilson but have a contemporary Deep Funk sound too. Rawville still embraces the deep raw organ based Funk aesthetic of their debut album Step It Up, but it also embraces different flavors. The album is half vocal based tunes and half instrumental. Vocals include those from label mate Alice Russell as well as vocalists Kylie Auldist, Tyra Hammond, Fallon Williams and Ohmega Watts.
Tracklist
1. The Bamboos Theme 2. Bring It Home 3. Get In The Scene 4. The Witch 5. My Baby’s Cheating (I Sure Got The Feeling) 6. I Don’t Wanna Stop 7. Head In The Clouds 8. Happy 9. Rockin’ It 10. Pussy Footin’ 11. Rawville 12. Tongan Steel
Having played straightforward hard rock with Mr. Big since the tail end of the '80s, bass virtuoso Billy Sheehan formed Niacin as an outlet for his jazz fusion and prog rock inclinations during the mid-'90s. The trio also featured keyboardist John Novello and drummer Dennis Chambers, both musicians who had crossed frequently between the worlds of jazz and rock during their careers. With Niacin, Novello devoted himself especially to the Hammond B-3 organ, a longtime mainstay of both jazz and prog rock. The band recorded a self-titled debut album in 1996, following it up in 1998 with High Bias. An import-only concert recording, Live!: Blood, Sweat and Beers, surfaced later that year as well. For their next album, Niacin moved from Stretch to Magna Carta, the label that became virtually synonymous with technique-oriented neo-prog rock at the turn of the millennium. Deep was released in 2000 and featured the group's first vocal track, courtesy of special guest Glenn Hughes (Deep Purple), as well as Toto guitarist and session ace Steve Lukather. -
Review by Scott Yanow
The fusion trio Niacin, comprised of keyboardist John Novello, bassist Billy Sheehan, and drummer Dennis Chambers, perform originals (mostly from Novello and Sheehan) plus Frank Zappa's "King Kong." Their playing frequently falls between improvised rock and soul-jazz, with Novello's organ and keyboards leading the dense and crowded ensembles through some avant funk grooves. While it is doubtful that any of the individual originals will catch on, fans of the rock side of fusion will find Niacin's music to be stimulating and fairly original within the genre.
Tracklist:
1 Barbarian @ the Gate 2 Nemesis 3 Blisterine 4 King Kong 5 Super 6 Magnetic Mood 7 Hair of the Dog 8 4's 3 9 Stumble on the Truth 10 Club Soda 11 No Shame 12 Clean House 13 Footprints in the Sand
MAX GREGER JR., MILAN PILAR und CHARLY ANTOLINI are known as outstanding musicians and independent personalities. They met in the 70s while playing in the orchestra of Max Greger Senior. It was there where the idea of “CATCH UP” started. With their unique style the CATCH UP group became a creative element of the German jazz scene.
Their first album “Catch Up 1” was recorded in 1975 in the legendary Munich Studios, for the label Calig. Rare Groove addicts consider this album as a speciality. Two titles out of the album have been licensed by now: For a “Compost - Glücklich” – and for a “Gilles Peterson - Talkin‘ Jazz” -Sampler.
The initial release was much sought after over the years and it is now finally available again on vinyl (lim. 180 gr) Max Greger jun., started his first piano lessons at the age of five years. He was a student at the Munich Musical Academy. He especially likes the classical masters and his idols are Oscar Peterson, Herbie Hancock und Mc Coy Tyner. Max Greger jun. is mainly busy as pianist, composer and arranger and he’s accompanying various musicians. He performs regularly in the Munich jazz scene and is conducting several big band orchestras.
Milan Pilar, born in Prague, Czechoslovakia, studied at the Musical Academy and Conservatory of his home town. After moving to Germany he continued to study composition at the Cologne Academy of Music. His musical variability has been proven by playing the double bass in various symphony orchestras, the Bavarian State Opera and by playing the electric-bass as a jazz musician in great demand. As composer and arranger he conceived the idea to this album.
Charly Antolini, is definetely a world-class drummer. He was born in Zurich, Switzerland and started his musical career at the local Musical Academy. He played with all the famous jazz musicians like Wolfgang Dauner, Barbara Dennerlein, Art Farmer, Dusko Goykovich, Albert Mangelsdorf, Nils Henning Örsted Pedersen, Baden Powell and many more. His album “Knock Out” caused a sensation in 1979 and advanced to a cult release.
Tracklist:
1 Catch Up
2 Bordun
3 Onkel Joe
4 Moonlight on a Baldhead
5 Lydia
6 Blues for the Kaiser
7 A Night without Dreams/The Little Things That Make Us Happy
Capitol's The Complete Birth of the Cool is a double-disc set that's separated into two halves. The first contains all 12 tracks Davis cut in the studio in January 1949 with Gil Evans. The second contains three radio broadcasts that the Birth of the Cool nonet performed in September 1948 at the Royal Roost in New York City. All the recordings have been completely remastered, resulting in the best ever sound for these recordings. The set also features brand new liner notes from Phil Schapp, plus the original liners. All the added features help make The Complete Birth of the Cool the definitive chronicle of one of the most important eras in jazz history. -
Tracklist:
1 Move 2 Jeru 3 Moon Dreams 4 Venus de Milo 5 Budo 6 Deception 7 Godchild 8 Boplicity 9 Rocker 10 Israel 11 Rouge 12 Darn That Dream 13 Birth of the Cool Theme [live] 14 Symphony Sid Announces the Band [live] 15 Move [live] 16 Why Do I Love You? [live] 17 Godchild [live] 18 Symphony Sid Introduction [live] 19 S'il Vous Plait [live] 20 Moon Dreams [live] 21 Budo (Hallucination) [live] 22 Darn That Dream [live] 23 Move [live] 24 Moon Dreams [live] 25 Budo (Hallucination) [live]
For the past three years, Tommy T (Thomas T Gobena) has been the bass player for gypsy punk powerhouse Gogol Bordello. Tommy was born and raised in Addis Abada (Ethiopia's capital city) and the knowledge of global rhythms he brings to Gogol's sound has become part of their unclassifiable approach to music making. "The Prester John Sessions" is an aural travelogue that ranges freely through the music and culture of Ethiopia, the album is a collection of 11 songs including a remix of the track "Oromo Dub (Cushitic Dub)," featuring fellow Gogol Bordello band mates Eugene Hutz and Pedro Erazo and mixed by Michael Goldwasser of the Easy Star All-Stars.
In the 70s, funk, wah-wah pedals, and jazz had a huge impact on Ethiopian music," Tommy explains. "The Prester John Sessions will give people an idea about the musical diversity of Ethiopia, which includes influences and ideas borrowed from the sounds of the 70's with the added bonus of up-to-date production values."
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Sampler Tracks:
I picked out these four tracks to give you all a taste of the different grooves Tommy has put together. Fine stuff. I'm sure you'll enjoy them. Available on iTunes.
Review by Michael G. Nastos Of Chico Hamilton's nearly dozen albums in the 2000s, this one is different in that it features a larger ensemble than the others, a septet up to a nonet, a handful of duets, and is chock-full of many new compositions from the drummer's hand that represents a synopsis of his previous seven decades in jazz, updating that history with tributes to his favorite musicians, bandmates, friends, and his wife. Hamilton sings a little, plays the drum kit a lot, and leads this group of new names, the veteran trombonist George Bohanon, and mainstay guitarist Cary DeNigris, who himself is more subdued than on recent recordings. Tenor saxophonist Evan Schwam and alto saxophonist Eddie Barbash both triple on soprano sax and flute, and are very integrated into the modern concept Hamilton has honed for decades, sounding very comfortable with their substantial roles. A master of nuance and mood setting, Hamilton's modus operandi is to play the intro of a tune in free floating time, then bust out with a static rhythm. He's also inclined to offer up multiple rhythm changes in any given composition. For instance, "Happiness Prevails" displays a churning hi-hat rhythm before nosediving into thin air, then hitting up a waltz tempo. A down/up theme introduces the horns on the "Charlie Parker Suite" where chunky funk displaces bebop. Bohanon's feature, "George," starts with a vocal chant of his name, a trombone call out, then an easy swing under his plunger induced wah-wah solo. "Penthouse A," which includes alto saxophonist Ian Young, features the roiling, tango-like cymbal rhythm that is Hamilton's signature, the band does a classic take of the swing-to-bop standard "Broadway," the flutes and a fluttery bassline identify the stripped down blues swing "Nonchalant," and the horns languish in elegance for "Steinway," an homage to Gerald Wilson, with phrases from "Afro-Blue" in 6/8 time welded in place. Up-and-comer Jose James sings in a rather plaintive tone for "Lazy Afternoon" under Hamilton's rumbling mallet tom-tom rhythms, while the vocal numbers from the leader include his gruff but soft poetry reading on "Really Makes My Day," and singing for the American popular song "I Don't Know Why." The CD concludes with duets featuring alto saxophonist Jack Kelso on a reflective "Brother Bob," then starting with a distant Kelso and a Wes Montgomery influenced DeNigris, with Hamilton replacing the guitarist for the finale "The Alto of Kelso." Clearly there's much gas in the tank for the eighty-something drummer, as he keeps cranking out fine recordings one after another in his golden years, all sounding fresh, inventive, and musically challenged. This one is no exception, and in fact is enhanced by the variety of group settings and the excellent work of the newcomers in the sax section.
Biography by Scott Yanow Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity. After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist.
Biography by Richard S. Ginell Gato Barbieri is the second Argentine musician to make a significant impact upon jazz — the first being Lalo Schifrin, in whose band Barbieri played as a teenager. His story has been that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat in accordance with ballads like "What a Diff'rence a Day Makes" (which he always knew as the vintage bolero "Cuando Vuelva a Tu Lado") and Carlos Santana's "Europa." Still, regardless of the idiom in which he works, the warm-blooded Barbieri has always been one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheerleading.
The title character (played by Craig Stevens) is a private investigator in the classic film noir tradition, which was a popular genre on American TV in the late 1950s. However, a few traits differentiate him from the standard hard-boiled detectives, such as Sam Spade or Philip Marlowe. Gunn was a sophisticated "hipster", a dapper dresser who loved cool jazz; where other gumshoes were often coarse, Peter Gunn was portrayed as the epitome of "cool". He operated in a nameless waterfront city, and was a regular patron of Mother's, a wharfside club; his girlfriend, Edie Hart (Lola Albright), was a sultry singer employed there. Herschel Bernardi played Lieutenant Jacoby, a police detective.
Music The show's use of modern jazz music, at a time when most television shows used a generic, uninspired orchestra for the background, was another distinctive touch that set the standard for many years to come. Innovative jazz themes seemed to accompany every move Gunn made, ably rendered by Henry Mancini and his orchestra (which at that time included John Williams), lending the character even more of an air of suave sophistication. Most memorable of all was the show's opening (and closing) theme, composed and performed by Mancini. A hip, bluesy, brassy number with an insistent piano-and-bass line, the song became an instant hit for Mancini, earning him an Emmy Award and two Grammys, and became as associated with crime fiction as Monty Norman's theme to the James Bond films is associated with espionage. The harmonies fit the mood of the show, which was a key to success. The Peter Gunn Theme has been covered by numerous jazz, blues, and rock artists since, including Ray Anthony, the Blues Brothers, Brian Setzer, The Cramps, Jimi Hendrix, Aerosmith, ELP, Pulp and many, many others. A version by Art of Noise, with guest artist Duane Eddy on twang guitar (taking the piano riff) earned a Grammy Award in 1987. Furthermore, the riff has been incorporated into many blues and jazz songs. The theme is also used as the background music for the 1983arcade gameSpy Hunter. Today, many people with no knowledge of the original show still can identify the theme.
