James Brown • A Soulful Christmas

 

www.jamesbrown.com ...

Women of Motown: An Oral History

 

Women of Motown by author Susan Whitall contains new chapters and information, updating this critically-acclaimed oral history of the ladies who made Motown a sound heard round the world. Originally published to glowing reviews in 1998, the first edition has long been out of print and sought after by collectors. Devault-Graves Digital Editions now brings the public a new updated edition that tells the Motown story from its beginnings with Mable John through the great girl groups such as Martha and the Vandellas and ending with the last iteration of the glorious Supremes after Diana Ross left for superstar status. Author Susan Whitall, an esteemed music writer who is a native of Detroit, expertly interviewed virtually all the women who made Motown explode on the hit charts and lets them tell their stories in all their humor, dishy detail, and the glory of lives spent recording and singing some of the greatest songs ever written.

Fans of Motown will not want to miss this chance for the girls to let their hair down and lay it on the line. The stories are not only fun and exciting, but give a history of a remarkable company that took African American music from Detroit's housing projects to the White House.

Civil rights music the soundtracks of the civil rights movement

 

While there have been a number of studies that have explored African American “movement culture” and African American “movement politics,” rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American “movement music,” and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. “Movement music” experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages—some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.

 

  Reiland Rabaka (Author)

 

Songs in the Key of Black Life A Rhythm and Blues Nation

 

Review

"Neal avoids polemics on the lyrical banality of black music or the over-hyped, oversexed videos pervading Black Entertainment Television. He redefines the terrain by advancing a discussion of artists working and succeeding within--and along the boundaries of--the existing subgenres of black popular music." -- The Washington Post
"Neal creates a dense, sensuous space for a critical cultured black perspective, what Soul Babies called the 'post-soul aesthetic' in black America. He illustrates his thesis through use of black vernacular forms to produce a voice that is both streetwise and scholarly ...Neal may be the first writer capable of developing groundbreaking ideas in the academy and getting a new sticker on his 'ghetto pass' in one stroke." -- TheWashington Post
"Neal's vision is (as always) right on target, and he does analyze important subjects never heretofore treated in depth. Surely worthy of consideration by those academic libraries with a strong interest in contemporary black American cultural studies." -- Library Journal
"Reading this book is like sitting down to a plate of collard greens with chopped up onions and tomatoes and a little touch of wine vinegar. A mouth-watering piece of hot water corn bread. A lean mean piece of short rib. And you know it's only going to get better because there is a sumptuous banana pudding bringing up the rear . . . . Smack those lips. Rub them hands. Say the blessing and get ready to feast! Thank you Mark Anthony Neal. It is delicious and truly delectable." -- Umar Bin Hassan, The Last Poets: Selected Poems and a History of the LastPoetsn
"Engaging, smart, and funny as hell, Songs in the Key ofBlack Life leaves no soul unturned. His lyrical analyses range from Patti Labelle to Laura Nyro, Jill Scott to Jay Z, academia to black radio. You won't find many scholars with Neal's deep and abiding knowledge of contemporary black popular culture, and you won't find any able to throw down such head-noddin' prose." -- Robin D. G. Kelley, author of Freedom Dreams: The Black RadicalImagination
"Mark Anthony Neal is one of the most creative and insightful intellectuals on the contemporary scene exploring how black popular music, especially R&B, provides a complex and rich historical legacy of submerged memories and communities of struggle that encompass the lived experience of black life in the United States." -- Henry Giroux, author of Impure Acts:The Practical Politics of Cultural Studies
"Once again, Mark Anthony Neal has proven himself to be one of our most astute critics of contemporary American music. Neal takes readers on an exciting journey through the terrain of black popular culture shedding new light on the relationship between power, politics and cultural production. Courageous, Provocative and Insightful, Songsin the Key of Black Life is sure to spark dialogue and debate for all who read it." -- Farah Jasmine Griffin, Professor of English and Comparative Literature at Columbia University
"Reading this book is like sitting down to a plate of collard greens with chopped up onions and tomatoes and a little touch of wine vinegar. A mouth-watering piece of hot water corn bread. A lean mean piece of short rib. And you know it's only going to get better because there is a sumptuous banana pudding bringing up the rear . . . . Smack those lips. Rub them hands. Say the blessing and get ready to feast! Thank you Mark Anthony Neal. It is delicious and truly delectable." -- Umar Bin Hassan, The Last Poets: Selected Poems and a History of the LastPoets
"Neal creates a dense, sensuous space for a critical cultured black perspective, what "Soul Babies" called the "post-soul aesthetic" in black America. He illustrates his thesis throught use of black vernacular forms to produce a voice that is both streetwise and scholarly ...Neal may be the first writer capable of developing groundbreaking ideas in the academy and getting a new sticker on his "ghetto pass" in one stroke." -- TheWashington Post

About the Author

Mark Anthony Neal is Associate Professor of Black Popular Culture in the Program in African and African-American Studies at Duke University. Neal is the author of Whatthe Music Said, Soul Babies, and Songs in the Key ofBlack Life, all published by Routledge.

 

VA • Sounds Of The Seventies - Dance Fever

 

VA • Phil Spector - Back To Mono [1958 - 1969]

 

philspector.com ...

Kossie Gardner • Pipes Of Blue

Organ with instrumental ensemble.

Keyboardist - songwriter - producer
Has written for the Solar of artists
Born: 1941, Nashville, TN, United States
Died: 2 October 2009, Guayaquil, Guayas, Ecuador
Gardner first appeared on the Nashville jazz scene when, as a student at Fisk University, he taught himself how to play organ by listening to Jimmy Smith records.
He play with groups led by jazz saxophonist, David Newman and Sonny Stitt.

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Órgano con conjunto instrumental.

Tecladista - compositor - productor
Ha escrito para el Solar de los artistas
Nacido: 1941, Nashville, TN, Estados Unidos
Murió: 2 de octubre de 2009, Guayaquil, Guayas, Ecuador
Gardner apareció por primera vez en la escena del jazz de Nashville cuando, siendo estudiante en la Universidad de Fisk, se enseñó a sí mismo a tocar el órgano escuchando los discos de Jimmy Smith.
Toca con grupos liderados por el saxofonista de jazz, David Newman y Sonny Stitt.

King Louie Organ Trio • It's About Time

Review:

A hefty slice of the blues, soul jazz and groove best describes the King Louie Organ Trio.It's a contemporary jazz sound while clearly harking back to the golden era of soul jazz, led by Hammond organist Louis Pain and also features the weighty tones and the funky groove sax wizardry of Renato Caranto bolstered down by two top notch drummers who share track duties on thirteen well crafted cuts.

The 1960s soulful jazz organ era is the overarching influences for this solid contemporary player and the all original compositions reflect this.

Pain shows his natural openess with his excellent trio, reflected in his bouncy, all accommodating and soulful approach, and always with a deft supporting touch

and If you're into the B-3 sound, this is a pretty greasy place to start!

Opening track' Frances J' sets the benchmark,it's a funky little potboiler in the style of Booker T & The MGS, with a brisk and bluesy organ solo reminiscent of the great Jimmy Smith equalled by a blustery and robust sax solo whose imperious tones you can hear through out this album.These guys know a thing or two about great heads and 'Brulie' another little gem, twists and turns over the swinging funk groove of drummer Edwin Coleman , who really is the bus driver of the band - you don't go nowhere unless he puts his foot on the gas! This is strong material with ensemble playing to match.

A fantastic Nola groove kicks in to introduce 'Two Leons In New Orleans' a slinky one chord slice of blessedness with primal sax leading the way again glued together by Louis's spry organ playing and If you like gospel then people get ready for 'Bry-Yen/ I Believe In You'- a joyous unfettered piece of organ righteousness and incidentally my fave on the album.

'Teener' a jumpy funk chestnut powered yet again by groove meister Edwin who gets to wig out on a great band vamp to devastating effect and the swinging light and jazzy 'Big Brothers' offers respite from the heavy grooves with Louis channelling Booker T once more and check out the various tones he gets from his B3 it will warm the cockles of anybody's heart.Next up 'Mel Brown' has a great Grant Green feel to it and second drummer ( Mel Brown!) adds a lighter but just as funky touch and some welcome Greenesque guitar hits its stride with the fab Dan Faehnle putting his four penny worth in.It’s nothing new but that’s probably its best selling point.Whole eras being re-explored, tributes galore, and just some mighty fine playing. No one individual here is the star and yet they are all capable of star-turns. It’s the magic of a great trio at work.These guys are cooking on gas and have knocked up a pretty tasty platter for your delectation!

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Es un sonido de jazz contemporáneo que recuerda claramente a la época dorada del soul jazz, liderado por el organista Louis Pain de Hammond, y que también presenta los tonos pesados y la magia del saxofón funky de Renato Caranto reforzados por dos bateristas de primera clase que comparten las tareas de la pista en trece cortes bien elaborados.

La época de los órganos de jazz de los años 60 es la influencia dominante de este sólido intérprete contemporáneo y todas las composiciones originales lo reflejan.

Pain muestra su apertura natural con su excelente trío, reflejada en su enfoque lleno de vitalidad, todo ello con un toque de apoyo hábil.

y si te gusta el sonido B-3, ¡este es un lugar bastante grasiento para empezar!

El tema de apertura' Frances J' marca la pauta, es una pequeña caldera funky al estilo de Booker T & The MGS, con un solo de órgano enérgico y blues que recuerda al gran Jimmy Smith, igualado por un robusto y tempestuoso solo de saxo cuyos tonos imperiosos puedes escuchar a lo largo de este álbum.Estos chicos saben un par de cosas sobre grandes cabezas y 'Brulie' otra pequeña joya, se retuerce y gira sobre el swinging funk groove del baterista Edwin Coleman , quien realmente es el conductor del autobús de la banda - no vas a ninguna parte a menos que ponga el pie en el acelerador! Este es un material fuerte con un conjunto que toca a la par.

Un fantástico groove de Nola se pone en marcha para presentar 'Two Leons In New Orleans', una rebanada de bendición de un solo acorde con el saxo primario liderando el camino de nuevo pegado por el ágil órgano de Louis y si te gusta el gospel entonces la gente se prepara para 'Bry-Yen/ I Believe In You' - una alegre pieza sin restricciones de justicia de órgano y por cierto mi favorito en el álbum.

Teener' un castaño de funk saltarín alimentado una vez más por el groove meister Edwin, que consigue enloquecer a un gran vampiro de la banda con un efecto devastador y el ligero y jazzístico 'Big Brothers' ofrece un respiro de los ritmos pesados con Louis canalizando Booker T una vez más y comprueba los diversos tonos que obtiene de su B3, que calentará los berberechos del corazón de cualquiera.A continuación 'Mel Brown' tiene un gran toque de Grant Green y el segundo baterista (Mel Brown!) añade un toque más ligero pero igual de funky y alguna guitarra greenesca de bienvenida da su paso con el fabuloso Dan Faehnle poniendo su valor de cuatro peniques. No es nada nuevo, pero ese es probablemente su punto más vendido. Eras enteras que están siendo re-exploradas, tributos en abundancia, y sólo algunos poderosos bien tocados. Ningún individuo aquí es la estrella y sin embargo todos son capaces de hacer giros de estrella. Es la magia de un gran trío en el trabajo. ¡Estos chicos están cocinando a gas y han preparado un sabroso plato para tu deleite!

Isaac Hayes • The Best Of

 

10 soulful cuts from Stax Records’ incomparable creative force. As composer, producer, singer and multi-instrumentalist Isaac Hayes changed the face of music in the early 1970s and this collection is the perfect introduction to his music. Including the Academy Award Winning “Theme From Shaft” with its distinctive wah-wah guitar intro, “Walk on By,” and “Never Can Say Goodbye” all newly mastered.


 

craftrecordings.com ...

VA • Jon Savage's The Secret Public: How The LGBTQ+ Aesthetic Shaped Pop Culture 1955 - 1979

 

Homosexuality has been a part of post-war popular music since its very inception. Until the early 70s, however, it wasn’t talked about openly in that world: it was coded, hidden, secret. This of course mirrored society - during the 50s and 60s, the gay community felt like outcasts: harassed by the police, demonised by the media and politicians, imprisoned simply for being who they were.

This compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and Soul, Glam Rock, the early 70’s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of Disco, in the late seventies.

This double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs — where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. It’s a love letter to the entwined world of music and sexuality in all its many guises and we hope you enjoy the ride.

This compilation will coincide with "The Secret Public: How LGBTQ Resistance Shaped Popular Culture (1955-1979)"  a monumental history of the LGBTQ influence on popular culture from the award-winning Sunday Times bestselling author Jon Savage which will be published by Faber: 06.06.2024.

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La homosexualidad ha formado parte de la música popular de posguerra desde sus inicios. Sin embargo, hasta principios de los 70, no se hablaba abiertamente de ella en ese mundo: era algo codificado, oculto, secreto. Esto, por supuesto, reflejaba la sociedad: durante los años 50 y 60, la comunidad gay se sentía marginada: acosada por la policía, demonizada por los medios y los políticos, encarcelada simplemente por ser quien era.

Esta recopilación abarca el período anterior y posterior a Bowie, reflejando tanto la naturaleza codificada del tema en los años 50 y 60 como la mayor apertura que se produjo a principios de los 70. Comienza a finales de 1955, con el extraordinario éxito de Little Richard; continúa con el pop y el arte pop de principios de los 60; el Tamla y el Soul, el Glam Rock, el funk y la música disco de principios de los 70 que se escuchaban en los clubes underground de Nueva York, y luego pasa a la omnipresencia de la música disco a finales de los 70.

Esta recopilación de dos CDs trata sobre la libertad, y la libertad para todos. Si bien algunos artistas se identifican como LGBTQ+, entonces o ahora, otros están incluidos simplemente porque tocaron en clubes gay o lésbicos —donde sus letras o sonido resultaron útiles y agradables para los asistentes— o porque fueron influenciados de alguna manera por la estética gay o los representantes gays. Es una carta de amor al mundo entrelazado de la música y la sexualidad en todas sus múltiples facetas, y esperamos que disfruten del viaje.

Esta recopilación coincidirá con "The Secret Public: How LGBTQ Resistance Shaped Popular Culture (1955-1979)", una historia monumental sobre la influencia LGBTQ en la cultura popular del galardonado autor superventas del Sunday Times, Jon Savage, que será publicada por Faber el 6 de junio de 2024.


 

acerecords.co.uk ...

VA • Stax Revueː Live in '65!

 

Etta James • Love Songs

 

Les McCann • Much Les

 

Bill Mason • Gettin' Off

 

Originally Hailing From Columbus, Ohio, Where He Was Born In July 1948, Bill Mason, The Son Of A Baptist Minister, Had First Learnt Music In Church. Starting Out On Piano He Switched To Organ In His Late Teens. Mason Had Come To Bob Porter's Attention When As Part Of The Bryant Group He Recorded At Prestige On Two Sessions In 1971. Bill Mason Proves Himself A Formidable Leader With His Solo Album, The Aptly Titled Jazz-funk Outing gettin' Off'. The Album's Physicality Is Astounding, Mason Is An Extraordinary Soulful Hammond Organist, Conjuring Spiraling, Spellbinding Grooves That Seem To Grow Deeper And More Relentless With Each Successive Track. He Also Proves His Talent As A Composer With Originals Like "mister Jay" And The Scorching Title Cut Standing Tall Alongside Covers Highlighted By Al Green's Immortal "let's Stay Together".
Gettin' Off Features Idris Muhammad On Drums, Which Means A Frenzy Of Funky Jb-influenced Over-the-top Soul-jazz Drumming. Featured On Bass Is The Legendary Gordon Edwards (known For His Work With James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, Etc.) And Saxophone Duties Are Handled By Hubert Laws (quincy Jones, Gil Scott Heron, Moondog).
All Of The Above Is Carefully Overseen By Engineer Rudy Van Gelder & Producer Bob Porter (known For Their Work With Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis...and Many Others). Bill Mason's First (and Only) Album Was Originally Released In 1972 On Eastbound Records, Super Rare And Fetching Large Sums On The Collectors Market.
https://www.deejay.de/Bill_Mason_Gettin_Off_TWM18_Vinyl__321951

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Originario de Columbus, Ohio, donde nació en julio de 1948, Bill Mason, el hijo de un ministro bautista, había aprendido primero música en la iglesia. Empezando con el piano, cambió al órgano en su adolescencia. Mason llamó la atención de Bob Porter cuando, como parte del grupo Bryant, grabó en dos sesiones en 1971. Bill Mason demostró ser un líder formidable con su álbum solista, The Aptly Titled Jazz-funk Outing gettin' Off'. La física del álbum es asombrosa, Mason es un extraordinario organista Hammond, conjurando espirales, hechizando surcos que parecen crecer más profundos e implacables con cada pista sucesiva. También demuestra su talento como compositor con originales como "Mr. Jay" y el abrasador título cortado en alto junto a portadas destacadas por el inmortal "Let's Stay Together" de Al Green.

En "Gettin' Off" aparece Idris Muhammad en la batería, lo que significa un frenesí de tambores Soul-jazz influenciados por el Funky Jb. En el bajo aparece el legendario Gordon Edwards (conocido por su trabajo con James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) Y los deberes de saxofón son manejados por Hubert Laws (Quincy Jones, Gil Scott Heron, Moondog).
Todo lo anterior es cuidadosamente supervisado por el ingeniero Rudy Van Gelder y el productor Bob Porter (conocido por su trabajo con Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis... y muchos otros). El primer (y único) álbum de Bill Mason fue lanzado originalmente en 1972 en Eastbound Records, Super Rare and Fetching Large Sums On The Collectors Market.
https://www.deejay.de/Bill_Mason_Gettin_Off_TWM18_Vinyl__321951

 

 

 

 

 

Booker T. & The MG's • Melting Pot

Booker T. & The MG's • Time Is Tight [3CDs]

 Review by Richie Unterberger
A three-CD, 65-song box set that includes all their hits from 1962 through 1971, in addition to numerous LP tracks and failed singles; the third disc is devoted entirely to previously unreleased live material (most from 1992-1994) and rarities. Greatest-hits compilations will serve the needs of all but intense Booker T. and Stax fans. However, if you really dig their instrumental sound, this is a fine package. It might skip an odd, worthy track from their catalog, but basically has just about everything deserving of attention, concentrating more on their original compositions than their covers. Some of the more obscure selections, like their jazzy 1967 LP cut "Pigmy" and their inventive 1969 cover of "Lady Madonna," are overlooked standouts. A number of sides here, like "Burnt Biscuits," "Fannie Mae," "Sunday Sermon," "MG Party," and the moody, dignified "Meditation," were never on album before. Other oddities fans will want to know about is a live medley of James Brown material from 1968, Albert King doing "Born Under a Bad Sign" with them live (also from 1968), a hit 1965 single ("Hole in the Wall") released under the name "the Packers," and "Booker's Theme," which was only available on the 1969 Stax various-artists sampler Soul Explosion. The 1992-1994 live cuts (all previously unreleased), with various drummers in place of the late Al Jackson, show the band in decent though not amazing form, including a ten-minute jam on "Time Is Tight" and a version of "(Sittin' On) The Dock of the Bay" with Neil Young on vocals.

 

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Reseña de Richie Unterberger

Una caja de tres CDs y 65 canciones que incluye todos sus éxitos desde 1962 hasta 1971, además de numerosos temas del LP y singles fallidos; el tercer disco está dedicado por completo a material inédito en directo (la mayoría de 1992-1994) y rarezas. Las recopilaciones de grandes éxitos satisfarán las necesidades de todos, excepto de los intensos fans de Booker T. y Stax. Sin embargo, si realmente te gusta su sonido instrumental, este es un buen paquete. Puede que se salte algún tema interesante de su catálogo, pero básicamente tiene todo lo que merece atención, concentrándose más en sus composiciones originales que en sus versiones. Algunas de las selecciones más oscuras, como su corte jazzístico de 1967 "Pigmy" y su inventiva versión de 1969 de "Lady Madonna", son destacados pasados por alto. Varias de las caras de este disco, como "Burnt Biscuits", "Fannie Mae", "Sunday Sermon", "MG Party" y la malhumorada y digna "Meditation", nunca se habían grabado antes. Otras rarezas que los fans querrán conocer son un popurrí en directo de material de James Brown de 1968, Albert King haciendo "Born Under a Bad Sign" con ellos en directo (también de 1968), un single de éxito de 1965 ("Hole in the Wall") publicado bajo el nombre de "the Packers", y "Booker's Theme", que sólo estaba disponible en el sampler de varios artistas de Stax de 1969, Soul Explosion. Los cortes en vivo de 1992-1994 (todos inéditos), con varios bateristas en lugar del fallecido Al Jackson, muestran a la banda en una forma decente aunque no sorprendente, incluyendo una mermelada de diez minutos en "Time Is Tight" y una versión de "(Sittin' On) The Dock of the Bay" con Neil Young en la voz.

 

https://bookert.com/  

Trio Valore • Return Of The Iron Monkey

Trio Valore sing a simple song, they preach a sermon of groove and carry the torch of a great legacy forward, aiming their music at the heart and the feet - a dance band in the old school style. The band released their first autonomous album "Return On The Iron Monkey" in 2008, and have already experienced a mass of media interest and a heavyweight fan base thanks to the pedigree of the musicians involved. 

 

Trio Valore es la nueva apuesta musical de Steve White (ex de Style Council y batería habitual de Paul Weller), junto a Damon Minchella (Ocean Colour Scene) y Seamus Beaghen (Madness, Babyshambles,...).

Este trío ofrecen rhythm & blues —jazz, con una base de percusión, hammond y base rítmica e influencias 60s. Doce temas incluye el álbum, entre ellos versiones del Fire de Jimmy Hendrix, del Paint It Black de los Rolling Stones y, hay que ver lo que hace la fama, del Rehab de Amy Winehouse. 

Dicen rendir homenaje en este disco, grabado en Roma, a las grandes secciones rítmicas que han inspirado a la banda, como los Meters o los MGs, todo envuelto en una capa de soul. 

 

 

 

Icons of Rock [2 volumes]ː An Encyclopedia of the Legends Who Changed Music Forever

More than half a century after the birth of rock, the musical genre that began as a rebellious underground phenomenon is now acknowledged as America's-and the world's-most popular and influential musical medium, as well as the soundtrack to several generations' worth of history. From Ray Charles to Joni Mitchell to Nirvana, rock music has been an undeniable force in both reflecting and shaping our cultural landscape. Icons of Rock offers a vivid overview of rock's pervasive role in contemporary society by profiling the lives and work of the music's most legendary artists.

Most rock histories, by virtue of their all-encompassing scope, are unable to cover the lives and work of individual artists in depth, or to place those artists in a broader context. This two-volume set, by contrast, provides extensive biographies of the 24 greatest rock n' rollers of all time, examining their influences, innovations, and impact in a critical and historical perspective. Entries inside this unique reference explore the issues, trends, and movements that defined the cultural and social climate of the artists' music. Sidebars spotlight the many iconic elements associated with rock, such as rock festivals, protest songs, and the British Invasion. Providing a wealth of information on the icons, culture, and mythology of America's most beloved music, this biographical encyclopedia will serve as an invaluable resource for students and music fans alike.

 

 

 

Scott Schinder (Author)  

 

Janko Nilovic & The Soul Surfers • Maze Of Sounds

 

Janko Nilović (born 20 May 1941 in Istanbul) is a Montenegrin pianist, poet, and composer, who has lived in France since 1960.
He has published many works, most of them on library labels not available for sale to the public. His oeuvre stretches from classical, jazz, and funk to pop, psyche, and easy listening.
He arranged the songs of Michel Jonasz and Gérard Lenorman.
Nilović creates poetic musical images by bending the edges of styles, cross-pollinating them. He recorded many albums for the Montparnasse 2000 library label which specializes in music for radio and television, musical illustrators, and film music clubs.

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Traducción Automática:
Janko Nilović (nacido el 20 de mayo de 1941 en Estambul) es un pianista, poeta y compositor montenegrino que ha vivido en Francia desde 1960.
Ha publicado muchos trabajos, la mayoría de ellos en etiquetas de bibliotecas que no están disponibles para la venta al público. Su obra abarca desde música clásica, jazz y funk hasta pop, psyche y fácil escucha.
Organizó las canciones de Michel Jonasz y Gérard Lenorman.
Nilović crea imágenes musicales poéticas doblando los bordes de los estilos y haciendo una polinización cruzada. Grabó muchos álbumes para el sello de la biblioteca Montparnasse 2000 que se especializa en música para radio y televisión, ilustradores musicales y clubes de música de cine.



www.jankonilovic.com ...

Bill Doggett • Jumping & Swinging

Biography

With his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995. Born on the north side of Philadelphia, Doggett struggled with poverty as a youngster. Although he initially dreamed of playing the trumpet, his family was unable to afford lessons. Persuaded by his mother (a church pianist), to try keyboards instead, he quickly mastered the instrument. Hailed as a child prodigy by his 13th birthday, he formed his first band, the Five Majors, at the age of 15. Performing with the Jimmy Gorman Band, the pit orchestra at the Nixon Grand Theater, while still in high school, Doggett assumed leadership of the group in 1938. The experience was brief, however, as Doggett sold the orchestra to Lucky Millinder, with whom he continued to work off and on for the next four years. He made his recording debut on Millinder's tracks, "Little Old Lady From Baltimore" and "All Aboard" in 1939. Although he formed a short-lived orchestra with Benny Goodman's arranger, Jimmy Mundy, in late 1939, Doggett continued to work primarily as a sideman. Playing piano and arranging for the Ink Spots from 1942 until 1944, he went on to arrange tunes for Count Basie's band and tour and/or record with Coleman Hawkins, Johnny Otis, Wynonie Harris, Ella Fitzgerald and Lionel Hampton. Replacing Wild Bill Davis in Louis Jordan's band, in 1947, he appeared on the influential tunes, "Saturday Night Fish Fry" and "Blue Light Boogie." He made his debut as an organist during June 1951 recording sessions with Ella Fitzgerald. Debuting his own organ-led combo at New York nightclub, the Baby Grand, in June 1952, Doggett recorded more than a dozen singles before striking gold with "Honky Tonk" four years later. A longtime resident of Long Island, New York, Doggett died on November 13, 1996, three days after suffering a heart attack. ~ Craig Harris

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Biografía

Con su éxito instrumental "Honky Tonk" en febrero de 1956, Bill Doggett (nacido William Ballard Doggett) creó uno de los temas instrumentales más grandes del rock. Aunque generó decenas de ofertas para tocar en clubes de rock & roll de todo Estados Unidos, Doggett permaneció vinculado al jazz y al R&B basado en el órgano que había tocado desde la década de 1930. Continuó grabando para el sello King, con sede en Cincinnati, hasta 1960, y luego para Warner Brothers, Columbia, ABC-Paramount y Sue. Su última sesión fue como miembro y productor de un grupo de jazz/R&B de estrellas, Bluesiana Hurricane en 1995. Nacido en el norte de Filadelfia, Doggett luchó contra la pobreza de joven. Aunque al principio soñaba con tocar la trompeta, su familia no podía permitirse clases. Persuadido por su madre (una pianista de la iglesia), para probar los teclados en su lugar, rápidamente dominó el instrumento. Aclamado como un niño prodigio cuando cumplió 13 años, formó su primera banda, los Five Majors, a la edad de 15 años. Actuando con la Jimmy Gorman Band, la orquesta del Nixon Grand Theater, Doggett asumió el liderazgo del grupo en 1938 cuando aún estaba en la escuela secundaria. La experiencia fue breve, sin embargo, ya que Doggett vendió la orquesta a Lucky Millinder, con quien continuó trabajando de vez en cuando durante los siguientes cuatro años. Hizo su debut discográfico en los temas de Millinder, "Little Old Lady From Baltimore" y "All Aboard" en 1939. Aunque a finales de 1939 formó una orquesta de corta duración con el arreglista de Benny Goodman, Jimmy Mundy, Doggett continuó trabajando principalmente como sideman. Tocando el piano y arreglando los Ink Spots desde 1942 hasta 1944, arregló temas para la banda de Count Basie y realizó giras y/o grabaciones con Coleman Hawkins, Johnny Otis, Wynonie Harris, Ella Fitzgerald y Lionel Hampton. Reemplazando a Wild Bill Davis en la banda de Louis Jordan, en 1947, apareció en los influyentes temas "Saturday Night Fish Fry" y "Blue Light Boogie". Debutó como organista en junio de 1951 con Ella Fitzgerald. Debutando su propio combo dirigido por órgano en el club nocturno de Nueva York, el Baby Grand, en junio de 1952, Doggett grabó más de una docena de singles antes de conseguir el oro con "Honky Tonk" cuatro años más tarde. Residente de Long Island, Nueva York, Doggett murió el 13 de noviembre de 1996, tres días después de sufrir un ataque cardíaco. ~ Craig Harris