Georgie Fame • The Best Of Georgie Fame 1967-1971

 

Tecladista y cantante de jazz y R&B Georgie Fame, nacido en Leigh, Lancashire (Inglaterra). Comenzó como pianista acompañante en los sesenta, como líder de banda obtuvo varios hits memorables y en sus 50 años de carrera ha tocado junto a músicos de la talla de Count Basie, Alan Price, Gene Vincent, Eddie Cochran, Eric Clapton, Muddy Waters, Joan Armatrading y la banda The Verve.

Fame, cuyo verdadero nombre es Clive Powell, comenzó a tocar el piano con siete años. Cuando acabó la escuela secundaria se puso a trabajar y por las noches tocaba en un grupo llamado The Dominoes. Se presentó a un concurso de cantantes aficionados y allí le fue ofrecido un trabajo por la temprana estrella del rock and roll británico Rory Blackwell. Con 16 años se traslada a Londres y firma con una agencia de contratación liderada por Larry Parnes, que le sugiere el cambio de nombre. Durante unos años acompaña a cantantes de la agencia como Marty Wilde y Billy Fury, como miembro del grupo The Blue Flames. En 1961, el grupo se independiza y como Georgie Fame & the Blue Flames obtienen una serie de éxitos muy populares: 'Yeh, Yeh' (1964) , 'Get away', 'Sunny' (1966), 'The ballad of Bonnie & Clyde' (1967), su mayor éxito en las listas, y 'Seventh Sun' (1969)

Fame obtuvo un lugar en la historia de la radiodifusión, cuando O'Rahilly, que por entonces era su manager, no consiguió que la BBC emitiera su primera grabación 'Do the dog' (1964). Cuando también fue rechazado por Radio Luxembourg, O'Rahilly anunció que él crearía su propia emisora de radio con el fin de promocionar la grabación de Georgie Fame. La nueva estación de radio llegó a ser la emisora pirata Radio Caroline que emitía desde un barco frente a las costas de Inglaterra.

En los años setenta tuvo otro hit, 'Rosetta' (1971) haciendo tándem con su viejo amigo Alan Price (ex-Animals) y compuso y grabó música para jingles publicitarios y televisión.

En 1989 Fame tocó el órgano en el álbum 'Avalon sunset' de Van Morrison. Esto llevó a una fructífera colaboración entre ambos músicos, apareciendo Georgie en todos los trabajos de Van Morrison hasta 1997, compartiendo incluso créditos con él en el álbum 'How Long Has This Been Going On' (1996)

En 1998 Fame abandona a Van para co-fundar los 'Rhythm Kings' de Bill Wyman con los que permanece en la actualidad, aunque sigue colaborando puntualmente con Van Morrison. Además de sus trabajos como sideman, en los años noventa continuó grabando con su nombre magníficos álbumes como 'Cool Cat Blues' (1991) y 'The Blues and me' (1996). Sus dotes como vocalista de jazz han sido demostradas en una de sus últimas entregas en solitario, 'Poet in New York' (2000).

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Automatic Translation:

Keyboardist and singer of jazz and R & B Georgie Fame, born in Leigh, Lancashire (England). He began as accompanist in the sixties, as a bandleader won several memorable hits and his 50-year career has played with musicians such as Count Basie, Alan Price, Gene Vincent, Eddie Cochran, Eric Clapton, Muddy Waters, Joan Armatrading and the band the Verve.Fame, whose real name is Clive Powell, began playing the piano for seven years. When he finished high school I went to work and at night played in a band called The Dominoes. He introduced a contest of amateur singers and there was offered a job by early rock and roll star British Rory Blackwell. At 16 he moved to London and sign with a recruitment agency led by Larry Parnes, who suggested the name change. For a few years he accompanies singers like Marty agency Wilde and Billy Fury, as a member of The Blue Flames. In 1961, the group became independent and as Georgie Fame & the Blue Flames get a series of very popular hits, 'Yeh, Yeh' (1964), 'Get away', 'Sunny' (1966), 'The Ballad of Bonnie & Clyde '(1967), his biggest chart success, and' Seventh Sun '(1969)Fame earned a place in the history of broadcasting, when O'Rahilly, who was then his manager, did not get the BBC issued its first recording 'Do the dog' (1964). When it was also rejected by Radio Luxembourg, O'Rahilly announced that he would create his own radio station to promote the recording of Georgie Fame. The new radio station became the pirate station Radio Caroline which broadcast from a ship off the coast of England.In the seventies he had another hit, 'Rosetta' (1971) by tandem with his old friend Alan Price (ex-Animals) and composed and recorded music for television commercials and jingles.Fame in 1989 played the organ on the album 'Avalon Sunset' by Van Morrison. This led to a fruitful collaboration between the two musicians, Georgie appearing in all the work of Van Morrison until 1997, even sharing credits with him on the album 'How Long This Been Going On You' (1996)In 1998 Van Fame leaves to co-found the Rhythm Kings' Bill Wyman with which it remains today, but continues to work on time with Van Morrison. In addition to his work as a sideman, in the nineties he continued to record with your name great albums like 'Cool Cat Blues' (1991) and 'The Blues and me' (1996). His skills as a jazz vocalist have been demonstrated in one of his last deliveries alone, 'Poet in New York' (2000).

VA • Night Comes Downː 60 British Mod, R&B, Freakbeat, And Swinging London Nuggets [3 vols]

  

There's much, much more to 60s British music than just the invasion groups as Night Comes Down demonstrates. If you're a fan of the era, this box most certainly belongs in your collection. Recommended.
Night Comes Down: 60s British Mod, R&B, Freakbeat & Swinging London Nuggets.

The New Mastersounds • Therapy

 Artist Biography

One of the cornerstone acts of the U.K. retro-soul scene, the New Mastersounds play taut, old-school instrumental funk with a contemporary energy and an enthusiasm that has earned them rave reviews and led them to collaborate with a number of major acts in Britain and the United States. The New Mastersounds were formed in 1999 by guitarist Eddie Roberts, who was DJ'ing at a weekly club night in Leeds devoted to classic soul and funk. When the event moved to a new venue that covered two floors, Roberts saw the opportunity to add a live band to the mix, and he recruited drummer Simon Allen, who had previously played with Roberts in a band called the Mastersounds. With the addition of Pete Shand on bass and Bob Birch on piano and organ, the new act was complete, and in tribute to their old group, Roberts and Allen dubbed the combo the New Mastersounds.

It didn't take long for word about the New Mastersounds to spread, and in 2000 they released a pair of 7" singles on Blow It Hard Records drawn from early rehearsal tapes. In 2001, they recorded their first full-length album, Keb Darge Presents: The New Mastersounds, which was issued on Darge's Deep Funk label; the album earned enthusiastic reviews, and top DJs such as Cut Chemist, Pete Rock, and DJ Shadow sampled their grooves. Their second LP, 2003's Be Yourself, included guest vocals from Corinne Bailey Rae, and following a third studio set, 2005's This Is What We Do, the band documented the sound of its fabled live sets on 2006's Live at La Cova, recorded at a club gig in Spain. In 2006, the New Mastersounds briefly expanded to a five-piece with the addition of Rob Lavers on sax and flute (a number of guest horn players have recorded and toured with the group over the years), but he parted ways with them in 2007, the same year Bob Birch left the lineup, making way for new keyboard man Joe Tatton.

As the New Mastersounds toured clubs and festivals around the world, they continued to attract new fans, including American funk legends Art Neville of the Neville Brothers, Maceo Parker and Fred Wesley of James Brown's J.B.'s, and George Porter, Jr. of the Meters, all of whom have jammed with the combo on-stage. In 2008, they collaborated with vocalist Dionne Charles on the album Plug & Play, and in 2009 they celebrated their tenth anniversary with the appropriately titled Ten Years On, which included guest spots from Grace Potter, Chip Wickham, and Skerik. Having established a strong fan base in the U.K., Europe, and Japan, the New Mastersounds began looking to the United States. During a stay in Texas, they cut Breaks from the Border (2011), which featured vocals from the group members for the first time. Out on the Faultline (2012) was a Bay Area affair, recorded in Oakland and San Francisco. It was followed by The Hamburg Session (2013), a performance documented in Germany. The band's studio recordings resumed with Therapy (2014) and Made for Pleasure (2015), made near Red Rocks, Colorado and New Orleans, respectively.

At the end of the 2014/2015 tour, the New Mastersounds entered the Welcome to 1979 studio in Nashville. They selected tunes from previous albums that had evolved in concert over the previous decade. In front of a small, invited studio audience, the band multi-tracked these tunes -- as well as a fresh take of jazz guitarist Grant Green's arrangement of James Brown's "In the Middle" -- live to 1" tape during that single session. Following the performance, the recordings were mixed down to 1/4" stereo tape, then cut direct to vinyl lacquers. The album was released in a limited edition of 1000 vinyl copies in April of 2016. Recorded on two separate sessions, one in New Orleans and the other in Denver a few months later, Renewable Energy, the band's 11th studio long-player, arrived in 2018. The following year, they paired with Atlanta-based vocalist Lamar Williams Jr. for Shake It.

by Mark Deming

https://www.allmusic.com/artist/the-new-mastersounds-mn0000951908/biography

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 Biografía del artista

Uno de los actos fundamentales de la escena retro-soul del Reino Unido, los New Mastersounds tocan un funk instrumental tenso y de la vieja escuela con una energía contemporánea y un entusiasmo que les ha valido críticas muy favorables y les ha llevado a colaborar con varios actos importantes en Gran Bretaña y los Estados Unidos. Los New Mastersounds fueron formados en 1999 por el guitarrista Eddie Roberts, quien era DJ en una noche de club semanal en Leeds dedicada al soul y al funk clásico. Cuando el evento se trasladó a un nuevo local de dos pisos, Roberts vio la oportunidad de añadir una banda en vivo a la mezcla, y reclutó al baterista Simon Allen, que había tocado anteriormente con Roberts en una banda llamada The Mastersounds. Con la adición de Pete Shand en el bajo y Bob Birch en el piano y el órgano, el nuevo acto estaba completo, y en homenaje a su antiguo grupo, Roberts y Allen apodaron al combo los Nuevos Mastersounds.

No pasó mucho tiempo para que se difundieran los nuevos Mastersounds, y en el año 2000 lanzaron un par de singles de 7" en Blow It Hard Records extraídos de las primeras cintas de ensayo. En 2001, grabaron su primer álbum completo, Keb Darge Presents: The New Mastersounds, que fue publicado por el sello Deep Funk de Darge; el álbum obtuvo críticas entusiastas, y los mejores DJs como Cut Chemist, Pete Rock, y DJ Shadow probaron sus ritmos. Su segundo LP, Be Yourself de 2003, incluía las voces invitadas de Corinne Bailey Rae, y después de un tercer set de estudio, This Is What We Do de 2005, la banda documentó el sonido de sus legendarios sets en directo en Live at La Cova de 2006, grabado en un concierto en un club de España. En 2006, los New Mastersounds se ampliaron brevemente a cinco piezas con la adición de Rob Lavers en el saxo y la flauta (varios corneteros invitados han grabado y hecho giras con el grupo a lo largo de los años), pero se separó de ellos en 2007, el mismo año en que Bob Birch dejó la alineación, dando paso al nuevo teclista Joe Tatton.

A medida que los New Mastersounds recorrían los clubes y festivales de todo el mundo, seguían atrayendo a nuevos aficionados, incluyendo a las leyendas del funk americano Art Neville de los Neville Brothers, Maceo Parker y Fred Wesley de James Brown's J.B.'s, y George Porter, Jr. de los Meters, todos los cuales han improvisado con el combo en el escenario. En 2008, colaboraron con la vocalista Dionne Charles en el álbum Plug & Play, y en 2009 celebraron su décimo aniversario con el apropiadamente titulado Ten Years On, que incluía anuncios de invitados de Grace Potter, Chip Wickham y Skerik. Habiendo establecido una fuerte base de fans en el Reino Unido, Europa y Japón, los New Mastersounds comenzaron a mirar hacia los Estados Unidos. Durante una estancia en Texas, cortaron Breaks from the Border (2011), que presentó por primera vez las voces de los miembros del grupo. Out on the Faultline (2012) fue un asunto del Área de la Bahía, grabado en Oakland y San Francisco. Fue seguido por The Hamburg Session (2013), una actuación documentada en Alemania. Las grabaciones de estudio de la banda se reanudaron con Therapy (2014) y Made for Pleasure (2015), realizadas cerca de Red Rocks, Colorado y Nueva Orleans, respectivamente.

Al final de la gira 2014/2015, los nuevos Mastersounds entraron en el estudio Welcome to 1979 en Nashville. Seleccionaron temas de álbumes anteriores que habían evolucionado en concierto durante la década anterior. Delante de un pequeño público invitado al estudio, la banda grabó estas melodías - así como una nueva versión del arreglo del guitarrista de jazz Grant Green de "In the Middle" de James Brown - en vivo en una cinta de 1" durante esa sesión. Después de la actuación, las grabaciones fueron mezcladas en cinta estéreo de 1/4", y luego cortadas directamente a lacas de vinilo. El álbum fue lanzado en una edición limitada de 1000 copias de vinilo en abril de 2016. Grabado en dos sesiones separadas, una en Nueva Orleans y la otra en Denver unos meses después, Renewable Energy, el undécimo álbum de estudio de la banda, llegó en 2018. Al año siguiente, se emparejaron con el vocalista de Atlanta Lamar Williams Jr. para Shake It.

por Mark Deming

https://www.allmusic.com/artist/the-new-mastersounds-mn0000951908/biography

www.newmastersounds.com ...

Alan Haven • Organ Magic

 

Alan Haven (Born 1 April 1935, died 12 Jan 2016), Prestwich, Lancashire, United Kingdom) was an English, self taught, jazz organist. He married Miss World, Lesley Langley in the 60's.
Alan Haven enjoyed success with John Barry on the soundtracks to 1960s film classics including The Knack, Goldfinger, From Russia with Love and critical acclaim for his performances and recordings with jazz drumming supremo Tony Crombie. He further scored a surprise single hit with his recording of “Image”.
In 1969 and 1971 Haven recorded two albums for CBS, a mix of originals by Haven with his arrangements of covers. All benefiting from the distinctive Haven Lowrey Heritage keyboard sounds which he had been developing throughout the 1960s. “Haven For Sale” featured jazz trumpeter Maynard Ferguson and direction from Keith Mansfield. “St. Elmo’s Fire” saw Haven experiment more with the keyboards and its effects, also producing and including more originals than before. Both these LPs were released on a short-lived CD in 2010.
https://www.discogs.com/artist/355750-Alan-Haven

VA • MOD - The Ultimate Mod Anthems

 

Mods, Rockers, and the Music of the British Invasion

 

 

Musical floodgates were opened after the Beatles' first appearance on The Ed Sullivan Show on February 9, 1964. Suddenly, the U.S. record charts, radio, and television were overrun with British rock and pop musicians. Although this British Invasion was the first exposure many Americans had to popular music from the United Kingdom, British pop ― and more specifically British rock and roll ― had been developing since the middle of the 1950s. Author James Perone here chronicles the development of British rock, from the 1950s imitators of Elvis Presley and other American rockabilly artists, to the new blends of rockabilly, R&B, Motown, and electric blues that defined the British Invasion as we recognize it today. Die-hard fans of the Beatles, the Who, and the Kinks will all want a copy, as will anyone interested in the 1960s more generally.

May 1964 saw major gang-style battles break out in British resort communities between the Mods and the Rockers. The tensions between the two groups had been developing for several years, with each group claiming their own sense of culture and style. The Mods wore designer clothing, rode Vespa motor scooters, and shared an affinity for black American soul music, while the Rockers favored powerful motorcycles, greased-back hair, and 1950s American rock and roll. It was within this context that the sounds of the British Invasion developed.

Mods, Rockers, and the Music of the British Invasion chronicles the development of British rock through the iconic artists who inspired the movement, as well as through the bands who later found incredible success overseas. In addition to analyzing the music in the context of the British youth culture of the early 1960s, Perone analyzes the reasons that the British bands came to so thoroughly dominate the record charts and airwaves in the United States.

The contributions of Cliff Richard, Billy Fury, Johnny Kidd and the Pirates, Tommy Steele, the Tornados, Tony Sheridan, Blues Incorporated, and others to the development of British rock and roll are examined, as are the contributions and commercial and artistic impact of major British Invasion artists such as the Beatles, the Rolling Stones, the Dave Clark Five, the Yardbirds, Manfred Mann, the Who, the Kinks, and others. After investigating these groups and their influences upon one another, Perone concludes by examining the commercial and stylistic impact British rock musicians had on the American music of the time.

 

  James E. Perone (Author)

 

The New Mastersounds • Breaks From The Border

www.newmastersounds.com ...

 

VA • Halcyon Daysː 60s Mod, R&B, Brit Soul & Freakbeat Nuggets

 

Strawberry picks up where the powerful RPM Records left off and will shed light on collectable recordings from the 1960s and 1970s, from thematic compilations to anthologies of individual artists and occasional reissues of albums.

Halcyon Days is inspired by the custom RPM compilations Looking Back, Keep Lookin' and Night Comes Down. It traces the evolution of mod-friendly beat music on three CDs of jazzy R&B by Chris Farlowe, Duffy Power with Graham Bond and Zoot Money, opening the first CD with hornloaded Brit-Soul by Jimmy James, Geno Washington and The Richard Kent Style, Ska by Mickey Finn & The Blue Men, Girlgroup-Pop by The Chantelles and fluffy freakbeat by The Pretty Things and The Worrying Kynde.

On the third disc, the influence of psychedelia is evident in the performances of Jason Crest, July and Dantalian's Chariot.

Bands featured include The Animals, The Yardbirds, The Kinks, The Pretty Things, The Creation, The Action, The Artwoods, John's Children, The Spencer Davis Group, Brian Auger & The Trinity and The Fleur De Lys.

There are early singles from future superstars David Bowie and Rod Stewart and early recordings of Jimmy Page with Mickey Finn & The Blue Men and alongside Jeff Beck in The Yardbirds, Steve Howe in The In Crowd, Greg Lake in The Shame and Jack Bruce and Ginger Baker in the Graham Bond Quartet. Mick Fleetwood drums with The Bo Street Runners, future Deep Purple guitarist Ritchie Blackmore supports Heinz, his Purple bandmate Jon Lord is organist with The Artwoods, Rolling Stone Bill Wyman produces The End and Denny Laine, who later joined Paul McCartney in Wings, sings with The Moody Blues .

Producer Mike Hurst opens his archive and gives us the opportunity to record freakbeat nuggets from Australian Playboys, The Human Instinct, The Favourite Sons, Double Feature and The Oscar Bicycle, as well as orchestrated pop gems from soulful Truly Smith, psychedelic The Alan Bown!, Swedish mods The Tages and dramatically singing twins Paul & Barry Ryan.

Rarities available on CD for the first time include British R&B, soul and mod beat tracks from The Athenians, The Fingers, The Candy Dates, Barney J. Barnes & The Intro, Kevin 'King' Lear, Dorian Gray, Barry St. John, Ray French, Laris McLennon and Sleepy. There are also previously unreleased recordings by The SW4, The Union and The Trendbender Band.

Includes a booklet with track-by-track annotations, packed with rare images, including concert posters, sheet music and band photos.

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Strawberry retoma el camino donde lo dejó la poderosa RPM Records y arrojará luz sobre las grabaciones de colección de los años 60 y 70, desde compilaciones temáticas hasta antologías de artistas individuales y reediciones ocasionales de álbumes.

Halcyon Days se inspira en las recopilaciones personalizadas de RPM Looking Back, Keep Lookin' y Night Comes Down. Traza la evolución de la música beat de estilo mod en tres CDs de R&B jazzístico de Chris Farlowe, Duffy Power con Graham Bond y Zoot Money, abriendo el primer CD con Brit-Soul cargado de cuernos de Jimmy James, Geno Washington y The Richard Kent Style, Ska de Mickey Finn & The Blue Men, Girlgroup-Pop de The Chantelles y freakbeat esponjoso de The Pretty Things y The Worrying Kynde.

En el tercer disco, la influencia de la psicodelia es evidente en las actuaciones de Jason Crest, July y Dantalian's Chariot.

Entre las bandas que aparecen están The Animals, The Yardbirds, The Kinks, The Pretty Things, The Creation, The Action, The Artwoods, John's Children, The Spencer Davis Group, Brian Auger & The Trinity y The Fleur De Lys.

Hay primeros singles de las futuras superestrellas David Bowie y Rod Stewart y primeras grabaciones de Jimmy Page con Mickey Finn & The Blue Men y junto a Jeff Beck en The Yardbirds, Steve Howe en The In Crowd, Greg Lake en The Shame y Jack Bruce y Ginger Baker en el Graham Bond Quartet. Mick Fleetwood toca la batería con The Bo Street Runners, el futuro guitarrista de Deep Purple Ritchie Blackmore apoya a Heinz, su compañero de banda en Purple Jon Lord es el organista de The Artwoods, el Rolling Stone Bill Wyman produce The End y Denny Laine, que luego se unió a Paul McCartney en Wings, canta con The Moody Blues .

El productor Mike Hurst abre su archivo y nos da la oportunidad de grabar pepitas de freakbeat de Australian Playboys, The Human Instinct, The Favourite Sons, Double Feature y The Oscar Bicycle, así como joyas pop orquestadas de la conmovedora Truly Smith, los psicodélicos The Alan Bown!, los mods suecos The Tages y los dramáticos gemelos cantantes Paul & Barry Ryan.

Las rarezas disponibles en CD por primera vez incluyen temas británicos de R&B, soul y mod beat de The Athenians, The Fingers, The Candy Dates, Barney J. Barnes & The Intro, Kevin 'King' Lear, Dorian Gray, Barry St. John, Ray French, Laris McLennon y Sleepy. También hay grabaciones inéditas de The SW4, The Union y The Trendbender Band.

Incluye un libreto con anotaciones pista por pista, repleto de imágenes raras, como carteles de conciertos, partituras y fotos de la banda.

 

 

 

The New Mastersounds • Ten Years On

In the late 1990’s, guitarist and producer Eddie Roberts was promoting a club night in Leeds called “The Cooker.” When The Cooker moved into a new venue with a second floor in 1999, there was space and the opportunity to put a live band together to complement the DJ sets. Simon Allen and Eddie had previously played together as The Mastersounds, though with a different bassist and no organ. Through friends and the intimate nature of the Leeds music scene, Pete Shand and Bob Birch were added on bass and Hammond respectively, and The New Mastersounds were born. Though it was raw, and more of a boogaloo sound at first, it was powerful from the start. Their first rehearsal was hot enough for Blow it Hard Records to release on two limited-edition 7” singles in 2000.

Fast-forward 19 years, and the band’s recorded catalogue boasts 24 more 7” singles, 13 studio albums, 3 live albums, 1 remix album and 3 compilation albums, released variously in UK, Japan, and USA - where they continue to tour extensively. Joe Tatton, another veteran of the Leeds scene, joined back in 2007, replacing Bob Birch on organ and piano.

As a band, and as individuals, they have collaborated with an impressive array of musicians, DJs and producers, including: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

During a 2018 US tour, a sit-in by Atlanta-based vocalist Lamar Williams Jr turned heads, and the fit with NMS was so right that they pledged to make a record together. The resulting album was written and recorded in Denver, CO in December of that year and will be released in Fall 2019 on Eddie Roberts’ own Color Red label.

As an example of the respect this band commands, Peter Wermelinger - DJ, collector, and author of the crate-diggers’ bible The Funky & Groovy Music Lexicon - places the 2001 NMS track ‘Turn This Thing Around’ in his all-time top-ten tunes, along with the likes of Eddie Harris, Funkadelic, and Herbie Hancock. The New Mastersounds are at the very top of an elite selection of acts that bring the true soul out of funk.
http://www.newmastersounds.com/about

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A finales de los 90, el guitarrista y productor Eddie Roberts promocionaba una noche de club en Leeds llamada "The Cooker". Cuando The Cooker se trasladó a un nuevo local con una segunda planta en 1999, hubo espacio y la oportunidad de montar una banda en directo para complementar los sets de los DJ. Simon Allen y Eddie ya habían tocado juntos como The Mastersounds, aunque con un bajista diferente y sin órgano. Gracias a los amigos y a la naturaleza íntima de la escena musical de Leeds, Pete Shand y Bob Birch se incorporaron al bajo y al Hammond respectivamente, y así nació The New Mastersounds. Aunque su sonido era crudo y más bien de boogaloo al principio, fue potente desde el principio. Su primer ensayo fue lo suficientemente bueno como para que Blow it Hard Records lo publicara en dos singles de 7" de edición limitada en el año 2000.

Avancemos 19 años, y el catálogo de la banda cuenta con 24 singles de 7" más, 13 álbumes de estudio, 3 álbumes en directo, 1 álbum de remezclas y 3 álbumes recopilatorios, editados en Reino Unido, Japón y Estados Unidos, donde siguen realizando numerosas giras. Joe Tatton, otro veterano de la escena de Leeds, se unió en 2007, sustituyendo a Bob Birch en el órgano y el piano.

Como banda, y como individuos, han colaborado con una impresionante variedad de músicos, DJs y productores, incluyendo: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

Durante una gira por Estados Unidos en 2018, una sentada del vocalista de Atlanta, Lamar Williams Jr, llamó la atención, y el encaje con NMS fue tan correcto que se comprometieron a hacer un disco juntos. El álbum resultante se escribió y grabó en Denver, CO, en diciembre de ese año y se publicará en otoño de 2019 en el propio sello Color Red de Eddie Roberts.

Como ejemplo del respeto que despierta esta banda, Peter Wermelinger -DJ, coleccionista y autor de la biblia de los buscadores de cajas The Funky & Groovy Music Lexicon- coloca el tema de NMS de 2001 'Turn This Thing Around' en su top-ten de canciones de todos los tiempos, junto con las de Eddie Harris, Funkadelic y Herbie Hancock. The New Mastersounds están en la cima de una selección de élite de artistas que sacan el verdadero alma del funk.
http://www.newmastersounds.com/about


www.newmastersounds.com ...

The New Mastersounds • 102 Per Cent

In the late 1990’s, guitarist and producer Eddie Roberts was promoting a club night in Leeds called “The Cooker.” When The Cooker moved into a new venue with a second floor in 1999, there was space and the opportunity to put a live band together to complement the DJ sets. Simon Allen and Eddie had previously played together as The Mastersounds, though with a different bassist and no organ. Through friends and the intimate nature of the Leeds music scene, Pete Shand and Bob Birch were added on bass and Hammond respectively, and The New Mastersounds were born. Though it was raw, and more of a boogaloo sound at first, it was powerful from the start. Their first rehearsal was hot enough for Blow it Hard Records to release on two limited-edition 7” singles in 2000.

Fast-forward 19 years, and the band’s recorded catalogue boasts 24 more 7” singles, 13 studio albums, 3 live albums, 1 remix album and 3 compilation albums, released variously in UK, Japan, and USA - where they continue to tour extensively. Joe Tatton, another veteran of the Leeds scene, joined back in 2007, replacing Bob Birch on organ and piano.

As a band, and as individuals, they have collaborated with an impressive array of musicians, DJs and producers, including: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

During a 2018 US tour, a sit-in by Atlanta-based vocalist Lamar Williams Jr turned heads, and the fit with NMS was so right that they pledged to make a record together. The resulting album was written and recorded in Denver, CO in December of that year and will be released in Fall 2019 on Eddie Roberts’ own Color Red label.

As an example of the respect this band commands, Peter Wermelinger - DJ, collector, and author of the crate-diggers’ bible The Funky & Groovy Music Lexicon - places the 2001 NMS track ‘Turn This Thing Around’ in his all-time top-ten tunes, along with the likes of Eddie Harris, Funkadelic, and Herbie Hancock. The New Mastersounds are at the very top of an elite selection of acts that bring the true soul out of funk.
http://www.newmastersounds.com/about

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A finales de los 90, el guitarrista y productor Eddie Roberts promocionaba una noche de club en Leeds llamada "The Cooker". Cuando The Cooker se trasladó a un nuevo local con una segunda planta en 1999, hubo espacio y la oportunidad de montar una banda en directo para complementar los sets de los DJ. Simon Allen y Eddie ya habían tocado juntos como The Mastersounds, aunque con un bajista diferente y sin órgano. Gracias a los amigos y a la naturaleza íntima de la escena musical de Leeds, Pete Shand y Bob Birch se incorporaron al bajo y al Hammond respectivamente, y así nació The New Mastersounds. Aunque su sonido era crudo y más bien de boogaloo al principio, fue potente desde el principio. Su primer ensayo fue lo suficientemente bueno como para que Blow it Hard Records lo publicara en dos singles de 7" de edición limitada en el año 2000.

Avancemos 19 años, y el catálogo de la banda cuenta con 24 singles de 7" más, 13 álbumes de estudio, 3 álbumes en directo, 1 álbum de remezclas y 3 álbumes recopilatorios, editados en Reino Unido, Japón y Estados Unidos, donde siguen realizando numerosas giras. Joe Tatton, otro veterano de la escena de Leeds, se unió en 2007, sustituyendo a Bob Birch en el órgano y el piano.

Como banda, y como individuos, han colaborado con una impresionante variedad de músicos, DJs y productores, incluyendo: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

Durante una gira por Estados Unidos en 2018, una sentada del vocalista de Atlanta, Lamar Williams Jr, llamó la atención, y el encaje con NMS fue tan correcto que se comprometieron a hacer un disco juntos. El álbum resultante se escribió y grabó en Denver, CO, en diciembre de ese año y se publicará en otoño de 2019 en el propio sello Color Red de Eddie Roberts.

Como ejemplo del respeto que despierta esta banda, Peter Wermelinger -DJ, coleccionista y autor de la biblia de los buscadores de cajas The Funky & Groovy Music Lexicon- coloca el tema de NMS de 2001 'Turn This Thing Around' en su top-ten de canciones de todos los tiempos, junto con las de Eddie Harris, Funkadelic y Herbie Hancock. The New Mastersounds están en la cima de una selección de élite de artistas que sacan el verdadero alma del funk.
http://www.newmastersounds.com/about


www.newmastersounds.com ...

 

 

VA • Mondo Inferno Vol. 1

  Editorial Reviews

A fourteen track grab bag of worldwide sleaze, soul, and cool grooves galore compiled by DJs from an out-of-this-world Vegas-style supper club in Australia called Deville's Pad! Some of the stuff on here is astoundingly rare and each one a dance floor killer! Tracklist: Il n'y arait past tout ca - Madiate et son Ensemble (Congo), Here It Comes Again - The Man Dallions (Ireland), Harlem Watusi - Claus Ogerman (GDR), El Curaca - Frank Weir (Colombia), Makini - Sal Davies (Tanzania), Hurrikan - Chris Bruhn (Austria), Ohh Pee Day - LP Orchestra (USA), Allons y - Duke Flloyd (Luxembourg), Le Diable de Pres - Francoise Deldick (France), Mods Theme - Les Mods (Belgium), Sugar Baby - Jimmy Powell (UK), Bocacio Soul - Augusto Alguero (Spain), Look the Other Way - The Fortnum (Hawaii), Yoyo Man - Pietro Duchi (Italy).

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Comentarios editoriales

¡Catorce tracks en el mundo de sordas, almas y ritmos geniales en todo el mundo compilados por DJs de un club de cenas al estilo de Las Vegas en Australia llamado Deville's Pad! ¡Algunas de las cosas aquí son asombrosamente raras y cada una de ellas un asesino de pista de baile! Lista de canciones: Il n'y arait past tout ca - Madiate et son Ensemble (Congo), Here It Comes Again - The Man Dallions (Irlanda), Harlem Watusi - Claus Ogerman (RDA), El Curaca - Frank Weir (Colombia), Makini - Sal Davies (Tanzania), Hurrikan - Chris Bruhn (Austria), Ohh Pee Day - LP Orchestra (EE. UU.), Allons y - Duke Flloyd (Luxemburgo), Le Diable de Pres - Francoise Deldick (Francia), Mods Theme - Les Mods (Bélgica), Sugar Baby - Jimmy Powell (Reino Unido), Bocacio Soul - Augusto Alguero (España), Look the Other Way - El Fortnum (Hawaii), Yoyo Man - Pietro Duchi (Italia).

VA • Mondo Inferno Vol. 2

VA • Mondo Inferno Vol. 3

Georgie Fame • Sound Venture

Georgie Fame • Fame At Last

Review by Dave Thompson

Following on from the blazing live set that was his debut, Georgie Fame's first studio album is one of those discs to which only one appellation can truly be applied -- it's dangerous. A blistering romp through Fame & His Blue Flames' live repertoire of the day, fast and loose and driving, it captures one of Britain's best-ever R&B troupes stepping so far beyond the customary precepts of the Beat Boom that, if you were to come to this record without knowing who it was, there's no way you'd ever guess a bunch of (predominantly) Londoners were responsible. To pull out any highlights is to indicate that there are any corresponding low-lights -- there aren't. But a "Green Onions" so sweet that you can taste it captures the group in full flame, while Willie Dixon's "I Love the Life I Live" has rarely sounded so supreme. Even the closing "I'm in the Mood for Love" -- not a song one normally associates with heads-down blues boogie -- is granted a cigarettes'n'alcohol ambience that could choke any passing puritan, and the whole disc adds up to one of the all-time great albums of its, or any other, R&B-blessed era.

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Traducción Automática:

Revisión por Dave ThompsonTras el debut en vivo que fue su debut, el primer álbum de estudio de Georgie Fame es uno de esos discos a los que solo se puede aplicar una denominación: es peligroso. Un ampollar del repertorio en vivo del día de Fame & His Blue Flames, rápido y veloz y al volante, captura a una de las mejores compañías británicas de R&B que van más allá de los preceptos habituales del Beat Boom que, si fuera por venir Para este registro, sin saber quién era, no hay forma de que alguna vez adivines que un grupo de londinenses (predominantemente) eran responsables. Para sacar cualquier destaque es indicar que hay luces bajas correspondientes, no hay. Pero una "Cebolla verde" tan dulce que puedes saborearla captura al grupo a toda llama, mientras que "I Love the Life I Live" de Willie Dixon rara vez ha sonado tan supremo. Incluso al cierre "Estoy en el estado de ánimo para el amor", que no es una canción que normalmente se asocia con el blogie blues de cabeza abajo, se le otorga un ambiente de cigarrillos y alcohol que podría ahogar a cualquier puritano pasajero, y todo el disco agrega hasta uno de los mejores álbumes de todos los tiempos de su, o cualquier otro, R & B-blessed era.

 

 

 

 

The New Mastersounds • This Is What We Do

  

The New Mastersounds • Masterology The Pioneers Of New British Funk

In the late 1990’s, guitarist and producer Eddie Roberts was promoting a club night in Leeds called “The Cooker.” When The Cooker moved into a new venue with a second floor in 1999, there was space and the opportunity to put a live band together to complement the DJ sets. Simon Allen and Eddie had previously played together as The Mastersounds, though with a different bassist and no organ. Through friends and the intimate nature of the Leeds music scene, Pete Shand and Bob Birch were added on bass and Hammond respectively, and The New Mastersounds were born. Though it was raw, and more of a boogaloo sound at first, it was powerful from the start. Their first rehearsal was hot enough for Blow it Hard Records to release on two limited-edition 7” singles in 2000.

Fast-forward 19 years, and the band’s recorded catalogue boasts 24 more 7” singles, 13 studio albums, 3 live albums, 1 remix album and 3 compilation albums, released variously in UK, Japan, and USA - where they continue to tour extensively. Joe Tatton, another veteran of the Leeds scene, joined back in 2007, replacing Bob Birch on organ and piano.

As a band, and as individuals, they have collaborated with an impressive array of musicians, DJs and producers, including: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

During a 2018 US tour, a sit-in by Atlanta-based vocalist Lamar Williams Jr turned heads, and the fit with NMS was so right that they pledged to make a record together. The resulting album was written and recorded in Denver, CO in December of that year and will be released in Fall 2019 on Eddie Roberts’ own Color Red label.

As an example of the respect this band commands, Peter Wermelinger - DJ, collector, and author of the crate-diggers’ bible The Funky & Groovy Music Lexicon - places the 2001 NMS track ‘Turn This Thing Around’ in his all-time top-ten tunes, along with the likes of Eddie Harris, Funkadelic, and Herbie Hancock. The New Mastersounds are at the very top of an elite selection of acts that bring the true soul out of funk.
http://www.newmastersounds.com/about

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A finales de los 90, el guitarrista y productor Eddie Roberts promocionaba una noche de club en Leeds llamada "The Cooker". Cuando The Cooker se trasladó a un nuevo local con una segunda planta en 1999, hubo espacio y la oportunidad de montar una banda en directo para complementar los sets de los DJ. Simon Allen y Eddie ya habían tocado juntos como The Mastersounds, aunque con un bajista diferente y sin órgano. Gracias a los amigos y a la naturaleza íntima de la escena musical de Leeds, Pete Shand y Bob Birch se incorporaron al bajo y al Hammond respectivamente, y así nació The New Mastersounds. Aunque su sonido era crudo y más bien de boogaloo al principio, fue potente desde el principio. Su primer ensayo fue lo suficientemente bueno como para que Blow it Hard Records lo publicara en dos singles de 7" de edición limitada en el año 2000.

Avancemos 19 años, y el catálogo de la banda cuenta con 24 singles de 7" más, 13 álbumes de estudio, 3 álbumes en directo, 1 álbum de remezclas y 3 álbumes recopilatorios, editados en Reino Unido, Japón y Estados Unidos, donde siguen realizando numerosas giras. Joe Tatton, otro veterano de la escena de Leeds, se unió en 2007, sustituyendo a Bob Birch en el órgano y el piano.

Como banda, y como individuos, han colaborado con una impresionante variedad de músicos, DJs y productores, incluyendo: Lou Donaldson, Corinne Bailey Rae, Quantic, Carleen Anderson, Keb Darge, Kenny Dope, Mr Scruff, LSK, Lack of Afro, Page McConnell, Grace Potter, Karl Denson, Melvin Sparks, Idris Muhammad, Fred Wesley, Pee-Wee Ellis, Maceo Parker, Bernard Purdie, George Porter Jr, Zigaboo Modeliste, Art Neville, Ernest Ranglin.

Durante una gira por Estados Unidos en 2018, una sentada del vocalista de Atlanta, Lamar Williams Jr, llamó la atención, y el encaje con NMS fue tan correcto que se comprometieron a hacer un disco juntos. El álbum resultante se escribió y grabó en Denver, CO, en diciembre de ese año y se publicará en otoño de 2019 en el propio sello Color Red de Eddie Roberts.

Como ejemplo del respeto que despierta esta banda, Peter Wermelinger -DJ, coleccionista y autor de la biblia de los buscadores de cajas The Funky & Groovy Music Lexicon- coloca el tema de NMS de 2001 'Turn This Thing Around' en su top-ten de canciones de todos los tiempos, junto con las de Eddie Harris, Funkadelic y Herbie Hancock. The New Mastersounds están en la cima de una selección de élite de artistas que sacan el verdadero alma del funk.
http://www.newmastersounds.com/about


www.newmastersounds.com ...

Georgie Fame • Rhythm & Blues At The Flamingo

El Flamingo Club fue uno de los clubes de jazz y R&B mas importantes de Londres desde principios de los 50 hasta mediados de los 60. En sus años de historia el Flamingo vivió la guerra entre el trad Jazz y el Modern Jazz en los 50, la llegada del R&B, el Soul y los sonidos jamaicanos a principios de los 60, fue centro de turbias historias que acabaron agitando a la sociedad inglesa y asistió al nacimiento de la escena mod.
En septiembre de 1963 Georgie Fame and the Blue Flames grabaron su primer LP "Rhythm and Blues at the Flamingo", grabado en directo en el Flamingo bajo la producción de Ian Samwell y con Glyn Johns como ingeniero de sonido.

El disco salió publicado en 1964 y en el se puede escuchar la voz de John Gunnell que era el presentador del club.

London from early 50s to mid 60s In its long history the Flamingo lived war between the trad Jazz and Modern Jazz in the 50s, the arrival of R & B, Soul and Jamaican sounds in the early 60 it was center of murky stories that ended waving English society and attended the birth of the mod scene.In September 1963 Georgie Fame and the Blue Flames recorded their first LP "Rhythm and Blues at the Flamingo", recorded live at the Flamingo in the production of Ian Samwell and Glyn Johns as a sound engineer. The album was published in 1964 and can be heard in the voice of John Gunnell who was the host of the club.

Article complete: http:/http/londonrbclub.blogspot.com/2011/04/flamingo.html

more:

http://sladestory.blogspot.com.ar/1970/02/gunnell-brothers.html

http://www.nickelinthemachine.com/2009/06/the-flamingo-club-in-wardour-street-and-the-fight-between-johnny-edgecombe-and-lucky-gordon/comment-page-2/

https://jazzizzin.wordpress.com/2015/06/27/the-flamingo-jazz-club-london-england-1952-1967/

 AllMusic Review by Richie Unterberger

Recorded live at a London club in 1963, this is a bit stiffer than Fame's mid-'60s peak, but finds him gravitating toward his idiosyncratic blend of R&B and jazz. This R&B-oriented set includes covers of classics by Mose Allison, Smokey Robinson, Sonny Boy Williamson, and Rufus Thomas.

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 Reseña de AllMusic por Richie Unterberger
Grabado en directo en un club londinense en 1963, es un poco más rígido que el pico de Fame a mediados de los 60, pero lo encuentra gravitando hacia su mezcla idiosincrásica de R&B y jazz. Este juego orientado al R&B incluye portadas de clásicos de Mose Allison, Smokey Robinson, Sonny Boy Williamson y Rufus Thomas.

 

Georgie Fame • Georgie Fame [The Island Years 1974-1976]

 

The New Mastersounds • Plug & Play

 

Review by Rick Anderson

If you miss the sounds of the Meters, of vintage Northern soul, of James Brown, of 1960s jazz-funk, and of Hammond organ jazz by the likes of Jimmy Smith, and if you wish you could hear all of them at the same time, then you're sure to get a kick out of this Leeds-based quartet. To call the New Mastersounds "old school" doesn't quite do justice to their simultaneously backward-looking and forward-pushing sound, which fans of modern bands like the Charlie Hunter Quartet and Medeski, Martin & Wood will recognize immediately -- but so will those who cut their teeth on Jack McDuff and Lou Donaldson records. When guest vocalist Dionne Charles comes in (especially on the barnburning "Looking for an Answer"), the result is like an unholy cross between James Brown and Aretha Franklin; when the band slips into Afro-beat mode on "Kuna Matata" (featuring singer Troy Tuscan), the result is, strangely, more like a cross between Fela Kuti and Barry White.

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Traducción Automática:

Revisión por Rick Anderson

Si echas de menos los sonidos de los Meters, del alma vintage del norte, de James Brown, del jazz-funk de los años 60, y del jazz de órgano Hammond de la talla de Jimmy Smith, y si lo deseas, puedes escucharlos a todos al mismo tiempo , entonces estás seguro de obtener una patada de este cuarteto basado en Leeds. Llamar al New Mastersounds "vieja escuela" no hace justicia a su sonido al mismo tiempo hacia atrás y hacia adelante, que los admiradores de bandas modernas como Charlie Hunter Quartet y Medeski, Martin & Wood reconocerán de inmediato, pero tan serán los que cortan los dientes en los registros de Jack McDuff y Lou Donaldson. Cuando la vocalista invitada Dionne Charles entra (especialmente en el barnburning "Buscando una respuesta"), el resultado es como una cruz impía entre James Brown y Aretha Franklin; cuando la banda se desliza en modo Afro-beat en "Kuna Matata" (con el cantante Troy Tuscan), el resultado es, extrañamente, más como un cruce entre Fela Kuti y Barry White.

www.newmastersounds.com ...