The mulled wine is cooking, the candles are flickering and sending dancing shadows around the room, the TV is turned down low but you can make out an excitable Jimmy Stewart running up a snow-strewn street. There’s a hush of expectation about Christmas all over the house and then you click ‘play’ on the hi-fi and the warm grooves of Dexter Gordon move in close. This is Jazzmas, best heard late at night with a fine brandy, a good book and not a care in the world.

Jazzmas can be chilled and slow, à la Dexter or Rollins, mischievous like the Hammond-led funk of Jimmy Smith, or pure olde-time: welcome Ella and Basie. Vince Guaraldi’s wondrous O Tannenbaum, from A Charlie Brown Christmas, is perfect. And of course, every Jazzmas Eve we all need a little Coltrane circling around us. We end with Louis Jordan’s amazing Zat You Santa Claus?, a song which we can only hope Tom Waits will cover one day…

Dexter Gordon – The Christmas Song

Sonny Rollins – Winter Wonderland

John Coltrane – Greensleaves

Vince Guaraldi Trio – O Tannenbaum

Jimmy Smith – Santa Claus is Coming to Town

Ella Fitzgerald – Santa Claus Got Stuck Up My Chimney

Count Basie and the Mills Brothers

Louis Armstrong – Zat You Santa Claus?

A Verve Christmas

(Originally aired on September 02, 2007)

Time for the funk again. an ode to the organ grinder’s swing, the trumpet toccatas and all that funk-inspired acid jazz and fusion. get ready to jazz it up.

Herbie Hancock - Cantaloupe Island and Watermelon Man
Cannonball Adderley – Straight, no Chaser
Stanley Turrentine – Jubilee shout
Dizzy Gillespie – Trumpet Blues
Jimmy Smith – When the Saints go Marching in.

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And now, some intermission music.

“Baby, It’s Cold Outside,” Jimmy Smith, from “Christmas Cookin’,” 1964. It’s out of print, but is available digitally.

That’s a cool cover, and this is a pretty groovy jazz instrumental. No lame vocal duet. No breathy, baby-doll female vocals.

I bought Jimmy Smith’s “Christmas ‘64″ earlier this year, but this is a slightly different record. Also issued in 1964, “Christmas Cookin’” has two cuts not on “Christmas ‘64″ — this one and “Greensleeves,” which is not available digitally.

And now, clad in cold-weather gear purchased years ago from the Green Bay Packers, I am heading out into the blizzard to shovel a foot of snow from the driveway. It is 25 degrees F, with a wind chill of 8 F. The wind is out of the north at 31 mph, gusting to 38 mph. Visibility is a quarter-mile.

If I return, so will three under the tree.

WORD

phlegmatic [fleg-mat-ik] adj. 1. not easily excited to action or display of emotion; apathetic; sluggish 2. self-possessed, calm, or composed 3. of the nature of or abounding in the humor phlegm

BIRTHDAY

Horace (65 BC), Mary Queen of Scots (1542), William C. Durant (1861), Diego Rivera (1886), Sammy Davis Jr. (1925), Jimmy Smith (1925), Flip Wilson (1933), David Carradine (1936), Jim Morrison (1943), Gregg Allman (1947), Gérard Blanc (1947), Bill Bryson (1951), Kim Basinger (1953), Roy Firestone (1953), Sam Kinison (1953), Ann Coulter (1961), Greg Howe (1963), Teri Hatcher (1964), Sinéad O’Connor (1966), Dominic Monaghan (1976)

STANDPOINT

Last night, I watched Allen Iverson’s triumphant return to the Philadelphia 76ers. OK. Well. I watched about 15 minutes of it until I turned on the ultimately disappointing Flyers-Canadiens game.

But, arguably, I watched the most important part of the Sixers-Nuggets game: the introductory hoopla. Philadelphia, a city that three years ago was collectively shoving Iverson out of town, welcomed him home like no one ever wanted him to go anywhere.

The Wachovia Center was sold-out for a basketball game for the first time this year. Actually, the entire crowd last night almost doubled the total sum of the first eight home games. The starting lineup announcements were conducted in a way a 5-15 team, under any other circumstances, could never gotten away with. After being introduced, Iverson ran out to the 76ers logo at half-court, kneeled down and kissed it. (The crowd cheered like that was totally normal.) 

Iverson seemed truly happy. And I, for one, was truly happy for him. I never disliked the guy. I was always in his corner and have been a huge supporter of his return to Philadelphia.

I’ve had about 349 conversations about Iverson since he left town. Each and every time, I was told I was wrong. He was a poison. He was a selfish player. He was a thug. He had to go.

While I never subscribed the above statements, I always granted them creedence. I figured everyone hated Iverson because he was an asshole. Also, I was pretty sure I liked him for the same exact reason.

What I’m having trouble digesting is why,all of a sudden, everyone gives a shit about (a) the Sixers, and (b) Iverson himself.

I need to collect my thoughts on this one. TO BE CONTINUED.

In the meantime, what’s your take?  

QUOTATION

I used to be friends with Miles Davis. He didn’t like many folks. I lived across the street from him. He would call me up sometimes — “I got some fish I wanna cook up for ya.” I went up there, and he was on a couch, looking out the window. He was just rapt. I said, “What’re you watching, Miles?” He said, “The traffic. Where are all these motherfuckers goin’?” → Rip Torn

TUNE

In the interest of getting to know someone better, I’ve recently been exposed to more Belle and Sebastian. I was told by that someone “Get Me Away From Here, I’m Dying” is the band’s best song. Turned out to be the truth.

GALLIMAUFRY

→ After being complete cocks about music piracy and crying about how much money they were losing, it turns out the major record labels (Warner, Sony BMG, EMI and Universal) have been doing a little looting of their own. Justice? Maybe. Well, probably.   

→ While I’m of the opinion most people are complete dolts and unknowingly ruining society, there’s an awful, evil flipside. It appears there are enough smart individuals out there doing what they can to not be outdone by the morons. Case in point? This whole Miranda nonsense in The Supreme Court.

→ While I love to point out the inane crap dominating the media these days, I have an actual pleasure when I read some genuinely good news. Drunk driving deaths in the US are, statistically, on a downward turn. Good job, nitwits. I’m pleased some of you might be coming to your senses.

Music News Brought To You By Jon Hammond Streaming Worldwide KYOU Radio Twice Daily

HammondCast with Chris Cortez & Clifford Brown Jr. on Jon Hammond HammondCast KYOU Radio


*LISTEN TO THE AUDIO HammondCast 25 HERE:

http://ia341321.us.archive.org/2/items/HammondCast_25/HammondCast25.mp3

HammondCast 25 from organist/accordionist Jon Hammond, broadcasting from San Francisco with Clifford Brown Jr. & Chris Cortez of KCSM 91.1 talking about Jon’s music and fresh new tracks from Jon’s forthcoming record: “NDR SESSIONS Projekt” with saxophonist LUTZ BUCHNER, trombonist JOE GALLARDO, drummer HEINZ LICHIUS and JON HAMMOND on the new Hammond XK-3 organ/bass recorded in NDR Radio’s Studo 1 with NDR Engineer RUDY GROSSER at the controls. Selections include “Satin Doll”, Jon’s composition “Payphone Johnny”, “Polka Dots and Moonbeams”, “No X-Cess Baggage Blues” and news of JON HAMMOND Band’s upcoming tours to Germany Mar 25 8:00P
Jon Hammond Flensburg
Mar 26 8:00P
Jon Hammond / Blauer Engel Kiel
Mar 27 8:00P
Jon Hammond tbc
Mar 28 8:00P
Jon Hammond tbc Hamburg
Mar 29 8:00P
Jon Hammond tbc Hamburg
Mar 31 9:00P
Jon Hammond Jazzkeller Frankfurt Frankfurt
Apr 3 10:00P
Jon Hammond Jazzkeller Hofheim Hofheim Visit Jon Hammond’s official website: http://www.HammondCast.com *Member Local 802 & Local 6 Musicians Union/ASCAP Composer Publisher-JON HAMMOND International, Inc.

AFN Europe Jazz Kneipe Frankfurt Main HammondCast Sons of Champlin, James Preston, Organ KYOURADIO, NDR SESSIONS Projekt Jazz Joe Gallardo Lutz Buechner Knut Benzner Jon Hammond, B3, XK-1, XK-3c

MAX ROACH Photograph presented to Todd Barkan by Jon Hammond

Hammond seen here with Jazz Guitarist KENNY BURRELL in Hannover Germany:


Jon Hammond *Member American Federation of Musicians Union Local 802 and Host of HammondCast Show on KYOURADIO / KYCY 1550 AM Presents jazz producer Todd Barkan with original black & white photograph of MAX ROACH Jazz Drummer (January 10, 1924 – August 16, 2007) seen in the famous photo by Hammond performing in Barkans defunct San Francisco jazz club Keystone Korner in North Beach year 1981:

*WATCH THE VIDEO HERE:

http://ia311024.us.archive.org/2/items/JonHammondToddBarkanonHammondCastKYOURADIO/ToddBarkanonHammondCast.m4v

http://video.google.com/videoplay?docid=256307376565412239&ei=DmmNSuOcLp76rAL15f3TAg&q=todd+barkan+hammond

Special guest Todd Barkan on HammondCast Show KYOURADIO, Jon Hammond interview with Todd Barkan, who ran Keystone Korner in North Beach. When Keystone closed in 1983, it was one of the last San Francisco clubs to regularly book national and international touring jazz groups. Barkan is now the artistic director of Dizzy’s Club Coca-Cola, the jazz club operated by Jazz at Lincoln Center in New York, and he’s also a highly regarded producer who works with numerous domestic and European jazz labels.
© www.HammondCast.com

Jon Hammond Band featuring Tony Lakatos James and Wess (Blues) at JAZZKELLER Frankfurt

*WATCH THE VIDEO HERE:

http://ia340933.us.archive.org/2/items/JonHammondJamesandWessatJAZZKELLERFrankfurt/James_and_Wess_at_JAZZKELLER.m4v

http://www.youtube.com/watch?v=Gt-8vh6qjc4

JON HAMMOND Band paying tribute to Jimmy Smith (RIP) with their rendition of organ blues “James and Wess” at Jon’s annual “Musikmesse Warm Up Party” at JAZZKELLER Frankfurt.
TONY LAKATOS – Tenor Sax
HEINZ LICHIUS – Drums
JOE BERGER – Guitar
JON HAMMOND – Hammond XK-1 Organ/Bass
*JENNIFER – Camera
*Special Thanks: EUGEN HAHN Jazzkeller Frankfurt, Messe Frankfurt, Hammond Suzuki Deutschland MICHAEL MAIER FALKENSTEIN, ROY HAMMER – HR Radio Big Band,
KYOU Radio, Jon’s official site: www.HammondCast.com
© www.HammondCast.com

Bob Cunningham, Bass, Bernard Purdie, Jon Hammond, Local 802, Musicians Union, NDR Jazz, Late Rent, Mikell’s, Jazz Foundation of America, Elmar Lemes, ASCAP Network, B3 organ, XK-3c, Blues, Funky, Rhonda Hamilton, WBGO

ASCAP Network Behind The Beat with Jon Hammond “LATE RENT”

Elmar Lemes photo of Jon Hammond playing XK-3 organ at Local 802 Monday Night Jazz Session sponsored by Jazz Foundation of America

Jon Hammond MySpace

HammondCast

ASCAP Network Behind The Beat “NDR SESSIONS Projekt”

Jon Hammond is an endorsed artist of Hammond Suzuki USA

Blues, Frankfurt, Hammond XK-1 Organ, HammondCast, Jazz, Jazzkeller, Jimmy Smith, Jon Hammond, Musikmesse, Party, Tony Lakatos, XK-3c, Wolfgang Luecke, Charly Hosenseidl

Music News Brought To You By Jon Hammond Streaming Worldwide KYOU Radio Twice Daily

HammondCast with Chris Cortez & Clifford Brown Jr. on Jon Hammond HammondCast KYOU Radio


*LISTEN TO THE AUDIO HammondCast 25 HERE:

http://ia341321.us.archive.org/2/items/HammondCast_25/HammondCast25.mp3

HammondCast 25 from organist/accordionist Jon Hammond, broadcasting from San Francisco with Clifford Brown Jr. & Chris Cortez of KCSM 91.1 talking about Jon’s music and fresh new tracks from Jon’s forthcoming record: “NDR SESSIONS Projekt” with saxophonist LUTZ BUCHNER, trombonist JOE GALLARDO, drummer HEINZ LICHIUS and JON HAMMOND on the new Hammond XK-3 organ/bass recorded in NDR Radio’s Studo 1 with NDR Engineer RUDY GROSSER at the controls. Selections include “Satin Doll”, Jon’s composition “Payphone Johnny”, “Polka Dots and Moonbeams”, “No X-Cess Baggage Blues” and news of JON HAMMOND Band’s upcoming tours to Germany Mar 25 8:00P
Jon Hammond Flensburg
Mar 26 8:00P
Jon Hammond / Blauer Engel Kiel
Mar 27 8:00P
Jon Hammond tbc
Mar 28 8:00P
Jon Hammond tbc Hamburg
Mar 29 8:00P
Jon Hammond tbc Hamburg
Mar 31 9:00P
Jon Hammond Jazzkeller Frankfurt Frankfurt
Apr 3 10:00P
Jon Hammond Jazzkeller Hofheim Hofheim Visit Jon Hammond’s official website: http://www.HammondCast.com *Member Local 802 & Local 6 Musicians Union/ASCAP Composer Publisher-JON HAMMOND International, Inc.

AFN Europe Jazz Kneipe Frankfurt Main HammondCast Sons of Champlin, James Preston, Organ KYOURADIO, NDR SESSIONS Projekt Jazz Joe Gallardo Lutz Buechner Knut Benzner Jon Hammond, B3, XK-1, XK-3c

MAX ROACH Photograph presented to Todd Barkan by Jon Hammond

Hammond seen here with Jazz Guitarist KENNY BURRELL in Hannover Germany:


Jon Hammond *Member American Federation of Musicians Union Local 802 and Host of HammondCast Show on KYOURADIO / KYCY 1550 AM Presents jazz producer Todd Barkan with original black & white photograph of MAX ROACH Jazz Drummer (January 10, 1924 – August 16, 2007) seen in the famous photo by Hammond performing in Barkans defunct San Francisco jazz club Keystone Korner in North Beach year 1981:

*WATCH THE VIDEO HERE:

http://ia311024.us.archive.org/2/items/JonHammondToddBarkanonHammondCastKYOURADIO/ToddBarkanonHammondCast.m4v

http://video.google.com/videoplay?docid=256307376565412239&ei=DmmNSuOcLp76rAL15f3TAg&q=todd+barkan+hammond

Special guest Todd Barkan on HammondCast Show KYOURADIO, Jon Hammond interview with Todd Barkan, who ran Keystone Korner in North Beach. When Keystone closed in 1983, it was one of the last San Francisco clubs to regularly book national and international touring jazz groups. Barkan is now the artistic director of Dizzy’s Club Coca-Cola, the jazz club operated by Jazz at Lincoln Center in New York, and he’s also a highly regarded producer who works with numerous domestic and European jazz labels.
© www.HammondCast.com

Jon Hammond Band featuring Tony Lakatos James and Wess (Blues) at JAZZKELLER Frankfurt

*WATCH THE VIDEO HERE:

http://ia340933.us.archive.org/2/items/JonHammondJamesandWessatJAZZKELLERFrankfurt/James_and_Wess_at_JAZZKELLER.m4v

http://www.youtube.com/watch?v=Gt-8vh6qjc4

JON HAMMOND Band paying tribute to Jimmy Smith (RIP) with their rendition of organ blues “James and Wess” at Jon’s annual “Musikmesse Warm Up Party” at JAZZKELLER Frankfurt.
TONY LAKATOS – Tenor Sax
HEINZ LICHIUS – Drums
JOE BERGER – Guitar
JON HAMMOND – Hammond XK-1 Organ/Bass
*JENNIFER – Camera
*Special Thanks: EUGEN HAHN Jazzkeller Frankfurt, Messe Frankfurt, Hammond Suzuki Deutschland MICHAEL MAIER FALKENSTEIN, ROY HAMMER – HR Radio Big Band,
KYOU Radio, Jon’s official site: www.HammondCast.com
© www.HammondCast.com

Bob Cunningham, Bass, Bernard Purdie, Jon Hammond, Local 802, Musicians Union, NDR Jazz, Late Rent, Mikell’s, Jazz Foundation of America, Elmar Lemes, ASCAP Network, B3 organ, XK-3c, Blues, Funky, Rhonda Hamilton, WBGO

ASCAP Network Behind The Beat with Jon Hammond “LATE RENT”

Elmar Lemes photo of Jon Hammond playing XK-3 organ at Local 802 Monday Night Jazz Session sponsored by Jazz Foundation of America

Jon Hammond MySpace

HammondCast

ASCAP Network Behind The Beat “NDR SESSIONS Projekt”

Jon Hammond is an endorsed artist of Hammond Suzuki USA

Blues, Frankfurt, Hammond XK-1 Organ, HammondCast, Jazz, Jazzkeller, Jimmy Smith, Jon Hammond, Musikmesse, Party, Tony Lakatos, XK-3c, Wolfgang Luecke, Charly Hosenseidl

Hey, we all know that jazz musicians are naughty but they still need a little love! Just in time for the holidays, the latest installment in the Jazz Icons DVD Series is available. Featuring 7 full length DVDs and a bonus DVD of great vintage jazz concert footage, this series has fast become a favorite of jazz musicians and educators. The artists features in Series 4 are Jimmy Smith, Coleman Hawkins, Art Farmer, Erroll Garner, Woody Herman, Art Blakey and Anita O’Day. Included is a Bonus DVD with extra footage of Hawkins, Garner and Smith. The DVDs may be purchased as a set for $119.95 or individually for $19.95. If your jazz musician has been extra bad, we mean good, you’ll also want to buy  Series 1, Series 2 and Series 3.

I am not a shop til you drop kinda gal. Instead of hitting the stores today, I—along with Mr. Scribe and the two Scribe daughters—did yard work. My back is aching, my allergies are kicking and six yard bags are filled with leaves, twigs, and various other organic matter. I am envious of my next door neighbor who has hired a professional lighting company to deck her house in the most spectacular yet tasteful holiday display. Maybe tomorrow I will dig out our measly three boxes of decorations out of storage and begin our own decorating. I am especially excited to look at all of my thank you letters given to me by the third graders last year following my Kwanzaa presentations at school.

Whatever the case, I guess The Holiday Season has begun. As a preview, I’d like to offer the following Old School holiday songs. Enjoy!

***

As always, a big thank you to OSF hostesses, Marvalus at Conversations with Marva and MrsGrapevine. Please check out the rules for joining and list of other OSF participants here.

This is the first in a continuing series of iRoM holiday gift recommendations that will be adding new items  until the end of 2009.

By Don Heckman

The latest entry in the Jazz Icons DVD series – Jazz Icons Series 4 – continues to provide extraordinary collections of live performances by some of the music’s most legendary figures.  The featured artists in this group are Jimmy Smith, Coleman Hawkins, Art Farmer, Errol Garner, Woody Herman, Art Blakey and Anita O’Day.  (The DVDs, produced by Reelin’ in the Years Productions and Naxos, are available in a boxed set as well as individually.)

Mostly filmed or taped in the ‘60s for European television, the production is superb.  Cameras linger on revelatory close-ups, and the flow of images is always at the service of the music.  Unlike the unpleasant, herky-jerky, director-centric editing style that has become almost obligatory in music films of the post-MTV era, these videos create the convincing ambiance of a live performance.

The Jimmy Smith set, recorded in Paris in 1969, features his classic jazz organ trio format with guitarist Eddie McFadden and drummer Charlie Crosby.  Loose and swinging, the selections range from “Satin Doll” and “Sonnymoon for Two” to “The Days of Wine and Roses” and Smith’s atmospheric vocal on “Got My Mojo Working,”   As with each of the discs, there is a detailed liner note essay providing context and background, in this case by Ashley Kahn.

There are two performances in the Coleman Hawkins set, the first – recorded at the Adolphe Sax Festival in Belgium in 1962 – has never been seen before; the second dates from a 1964 BBC Televison show recorded at Wembley Town Hall in London.  This is prime Hawkins, defining sensual balladry with tunes such as “Lover Come Back to Me,” “Moonlight in Vermont” and “Stella By Starlight” and spirited mainstream jazz in “Disorder at the Border” and “Centerpiece.”  In the English segment, he’s joined by theinimitable trumpet of Harry “Sweets’ Edison.  The liner essay is by Scott Deveaux.

Art Farmer concentrates on flugelhorn in his appearance, recorded for BBC Television in 1964.  Always a lyrical player, he sounds even more engaging in the dark-toned instrument.  But what makes the performance even more unique is his interaction with the extraordinarily empathic playing of guitarist Jim Hall, bassist Steve Swallow and drummer Pete LaRoca.  The liner essay is by trumpeter/arranger/composer Don Sickler.

Two performances by Erroll Garner – in Belgium in ’63 and Sweden in ’64 – are marvelously entertaining displays of this one-of-a-kind artist at work.  His mobile, expressive face becomes an intimate part of his tempo-shifting, dynamically inventive progress through classics such as “Misty” and “Sweet and Lovely,” as well as the seemingly unlikely “One Note Samba” and “Thanks For The Memories.”  In each case, he makes the tune his own, backed by steady, understanding support of bassist Eddie Calhoun and drummer Kelly Martin.  John Murph provides the liner essay.

The set by Woody Herman’s Swinging Herd was recorded by the BBC in 1964.  This installment of the Herman Herds hasn’t always received the attention or the credit it deserves.  Driven by the rhythm section of Nat Pierce – who also wrote most of the charts and was the band’s straw boss – drummer Jake Hanna and bassist Chuck Andreus, it was an ensemble that swung as hard as most of the earlier Herman groups.  The soloing by the fiery tenor saxophone team of Sal Nistico and Joe Romano, with trombonist Phil Wilson leaves no notes unturned, and the new versions of classics “Four Brothers” and an astonishingly fast “Caldonia” are matched in intensity by heated interpretations of Charles Mingus’ “Better Git It In Your Soul.” Horace Silver’s “Sister Sadie” and Oscar Peterson’s “Hallelujah Time.”  The liner essay is by Steve Voce.

The Art Blakey Quintet was recorded in France in 1966 by one of the drummer/leader’s most transitory ensembles, assembled primarily for a relatively brief European tour.  But it’s a compelling line-up, nonetheless, with trumpeter Freddy Hubbard, tenor saxophonist Nathan Davis, pianist Jackie Byard and bassist Reggie Workman.  The result is a set of stretched-out richly improvisational performances, with Hubbard taking a stellar role.  His piece “The Hub” runs 17 minutes, “Crisis” lasts 24 minutes, and Hubbard is also featured on “Blue Moon” which had been his showcase number during his stint with Blakey’s Jazz Messengers in the early ‘60s.  But there are a lot of other things happening in this unusual set – among them the always imaginative playing of the still under-appreciated Byard.  The liner essay is by Michael Cuscuna.

Anita O’Day was recorded in Sweden in ’63 and in Norway in ’70.  She was, by almost any definition, at the top of her form in both sets – especially the Swedish performance.  One engrossing performance follows another – two versions of “Sweet Georgia Brown,” scatting with the lyrics on “Tea For Two,” Lennon & McCartney’s “Yesterday” combined with Jerome Kern’s “Yesterdays” – all of it presented in readings that sell the song and the lyrics, while simultaneously finding the most intriguing musical phrase.  Bottom line: this is a video that should be required watching for every young jazz singer, as well as every fan of the jazz vocal art.  The liner essay is by Doug Ramsey.

The bonus disc that comes with the boxed set includes additional performances by Coleman Hawkins, Errol Garner and Jimmy Smith.  One of the many highlights is the pairing of Hawkins with alto saxophonist Benny Carter, including a gorgeous rendering of “I Can’t Get Started” by Carter and a revisit to “Body and Soul” by Hawkins.

No, it’s not a Jimmie Lunceford original.  But I just read a newspaper profile by Rachel Swan devoted to the drummer Donald Bailey (whose work I know from recordings he made with Jimmie Rowles) where he spoke about being a young player in Philadelphia.  These words leaped out at me (italics mine):

Bailey started playing drums as a preteen by practicing along with his brother’s records. His timing couldn’t have been better: Be-bop had become the avant-garde, and Philly was a veritable hotbed of it. John Coltrane, Bud Powell, Lee Morgan, Stanley Turrentine, Buster Williams, Jimmy Smith, Dizzy Gillespie, and Charlie Parker all lived in Philly at some point in their careers — and that’s only a partial list. Unknowns like Bailey would hobnob with these elder statesmen at places like the Blue Note Club and get whatever they could get. At that time, the scene was more of a meritocracy, said Bailey. “Nowadays, anybody can get up on the bandstand and play. We couldn’t do that when I was coming up,” the drummer said. “You just couldn’t do it. You would either be too embarrassed or they would embarrass you. They would take you by your pants and throw you out the door.”

Consider that, dear readers.  The full piece can be found here:

http://www.eastbayexpress.com/music/an_old_blueprint_made_new/Content?oid=1228901

Motto: “Allerheiligen Jam”

Anwesende: Thomas

Heute ist Allerheiligen, und gestern war NICHT Halloween! Halloween gibt es nicht! Und aus!

DOWNLOAD

Musca de: Victor Feldman, Chet Baker & Stan Getz, Jimmy Smith, Duke Pearson, Dirty Dozen Brass Band, Ray Bryant, Paul Chambers, Henri Mancini, Blue Mitchell, Fatty George

CD cover to come

(Sound Vault)

THERE’S nothing quite like the sheer swing and exuberance of a Hammond organ in the right hands — and feet — but it doesn’t stop there.
On his New B-3 Hammond, New Caledonian Benebig pays homage to Jimmy Smith, Jack McDuff, Jimmy McGriff and a host of others with soul-jazz hard bop and blues to set the toes tapping.
But, with long-time colleagues Melbourne’s Adam Simmons (saxophones) and Mike Jordan (drums), and Vaughn Roberts (trumpet) from Wellington, New Zealand, Benebig shows the versatility of this remarkable instrument.
The mostly lively set of Bennebig originals and one Simmons composition recorded live at Scarlette in Fitzroy early last year includes two ballads. One, Erdna, and the final Midday Blue, show how Benebig can coax the B-3 out of its infectious frenzy into a more reflective mood. Simmons and Roberts produce great solos in this delightful outing.

DOWNLOAD: Erdna
FILE BETWEEN: Jimmy Smith, Barbara Dennerlein

Review by ROGER MITCHELL

'The Sermon' (1959)

Top 100 Jazz is an ongoing project of mine, where I will listen to the Top 100 Jazz albums as listed on rateyourmusic.com in order from 100 to 1 and post my thoughts about them on here and hopefully learn more about the genre of music I love the most but only know a bit about.  The top 100 itself doesn’t reflect my own taste.

While I’ve obviously heard organs in jazz music before, this album is the first time I’ve heard an organ player as the leader – which probably shows how relatively little I know about jazz.  But its exciting times…

This top 100 thing is shaping up nicely for me so far, last night Coltrane’s ‘Sun Ship’ came at just the right time in the evening to appreciate it in its extremity – now that I’ve just woke up, as I sit with my cup of morning joe, strictly black with no sugar – this is the perfect soundtrack.  Mellowed out bop, easy on the ears, Jimmy Smith’s hammond organ sounds lovely and the brass instruments are played softly.  The 20 minute opener of the title track passes by with ease – yeah it doesn’t specifically go anywhere, but it doesn’t need to, its friendly – I had a little dance with me lass to it.  What surprised me most though was the fact the leader doesn’t really have his own extended solo – only little bits here and there.

‘J.O.S’ the second track is more of a banger than The Sermon, but still the playing is very graceful and the hammond organ provides such a warm atmosphere for the saxophones to play in.  I just read that the atonal high pitched notes heard from the organ at the end of the solos was for Smith to signify when the soloist to end so the next one could come in.  I think its hilarious on the 2nd sax solo before Burrel’s guitar solo when Smith has to repeatedly keep hitting the atonal high note to get whoever was playing to shut up.  Then near the end Smith finally has his moment in the sun, the time to shine, with his own solo – yeah its great, this whole album is.  Dunno what was going on with the Dracula thing 1 minute before the end, but he quickly rectified it – who cares, it adds character.

I love this style of jazz music – its so lightly played yet so full of energy, the hammond organ and guitars make such music even warmer than usual.  But last track ‘Flamingo’ loses the energy, instead its romantic – a hot summer’s evening, walking as the sun sets, holding hands with your date, a peck on the cheek, a cool breeze in the air – refreshing.  A lovely note for the album to go out on.  But even though I love this set up, even the organ is played more lightly than I usually hear – its like morphine, I couldn’t listen to it all the time otherwise I’d never have any energy.  Maybe this wasn’t the perfect choice after just waking up – perhaps its best just before bed.

The series from Youtube of where Hip-Hop samples are from?

Another two clips for your pleasure..

Part 1

Part 2

Link a Spotify: Allen Toussaint – The Bright Mississippi

Bravo!

Llevo viajando unas semanas con este disco, viajando en el tiempo. Este disco conecta con hombres que nacieron a finales del siglo XIX, o en los comienzos del XX, y nos trae un pedazo de aquel “feel” y un interesante balance temporal. Estos hombres fueron la banda sonora de aquella época, y sus temas se tocaron y se tocan desde entonces por grandes artistas en los que han influido, músicos como Louis Armstrong, Duke ellington, Miles Davis, Jimmy Smith… la lista sería interminable. Esas melodías han transitado a lo largo de casi 100 años, vistiéndose a cada década con la ropa de momento, soportando dignamente el bop, el bebop, cantantes diversos de dispares estilos, interminables improvisaciones o breves versiones vocales, ritmos latinos, boogaloo, etc.

No sé como explicarlo bien, pero Allen Toussaint está en forma ahora mismo, al igual que el productor del disco Joe Henry. Dos artistas inspirados en un gran momento. Pero desde luego, el disco es una sorpresa teniendo en cuenta que el pianista tiene una larga historia como compositor de “Rhythm and Blues” y si hace unos meses escuchaba a Toussaint en su trabajo con Elvis Costello “The river in reverse”, ahora disfruto con esta delicia de disco, en el que todo suena al primer blues, el inicio del Jazz, la plataforma sobre la que se construyó la interesante historia de un siglo de música en un país que nos ha influido a todos, suena realmente evocador. Al igual que el encuentro de Charlie Haden con un entrado en años Hank Jones en “Steal away”, es una alegría ver envejecer tan dignamente, tan inspirados, tan sabios, a músicos de tamaña envergadura cuando entran en esa edad en la que se camina despacio, el la que uno se sienta lentamente y toca sin prisa. Lo mismo me ocurre si escucho a Kenny Barron arrancar con ese fraseo templado, esa pulsación bien conocida, que sabe a auténtico swing. Recuerdo su voz, al principio de un show con esa parsimonia, y aún sin entenderlo puedo visualizar como se le caían las palabras melodiosamente, pensadas, meditadas, sin lucha.

Una de las cosas que aprecio en gran medida (“mayormente”) es la capacidad de vivir ahora sin dejar de estar en ayer, y creo que no solo en la música, en la vida también me ocurre. No hablo de hace una semana, ni de treinta años, hablo de ese otro “Ayer”. Y este disco está tocado con el sabor de antaño, y ahí es ahí donde están los intérpretes mientras que Joe Henry viene a aportar ese “yo que sé” (¿la elección de los músicos?) que hace que el disco esté en el mundo “ahora” (Don Byron y su endemoniado clarinete tienen mucho que decir en dicha conexión), y ese trabajo en equipo genera la magia para que estos temas tocados sin vocación pirotécnica, se conviertan en una obra indudablemente bella. Aquí la música se convierte en un registro ya no solo músical, pues además del triste sentir de eternos adioses, de abandonos amorosos o la alegría de noches de fiesta, nos sugiere “imágenes” de un río, de los vapores, de los campos y ciudades, de gentes sudorosas castigadas por un cielo en llamas y la humedad que atrae a los mosquitos, imágenes de grandes películas, o de otros tantos films…

¡He dicho!

Así que, escuchando desde mi colina el lejano murmullo de las fiestas del “popular” y barcelonés barrio de Gracia, me internaré en mi cueva a intentar descansar lo más fresquito posible… entren sin llamar.

Trago recomendado: un refrescante “Hurricane” al estilo New Orleans, y si se hace demasiado ligero, yo lo dejaría en Ron a secas.

Sidney Bechet (1897, New Orleans, Louisiana)- Egyptian fantasy

Turner Layton (1894, Washington D. C.)- A dear old southland

Anonymus – St. James Infirmary

Con Conrand (1912) – Singin’ the blues

Jelly roll morton (1885) – Winin’ boy blues

Joe king Oliver (1885) – West end blues

Django Reinhardt (1910, Liberchies, Bélgica) – Blue drag

Traditional (s. XIX) – Just a closer walk with thee

Thelonious Monk (1917, Carolina del Norte) – Bright MIssissippi

Duke Ellington (1899, Washington D.C.) y Billy Strayhorn (1915, Dayton, Ohio) – Day dream

Leonard Feather (1914, London) – Long, long journey

Duke Ellington – Solitude

Músicos:

• Allen Toussaint: piano, voz en “Long, Long Jorney“
• Don Byron: clarinete
• Nicholas Payton: trompeta
• Marc Ribot: guitarra acústica (no me lo saco de encima ni con agua hirviendo, la madre que lo parió…!!!)
• David Piltch: upright bass
• Jay Bellerose: batería y percusión

Invitados:

• Brad Mehldau: piano en “Winin’ Boy Blues“
• Joshua Redman: saxo tenor en “Day Dream”