VA • The Boogie Woogie

 

Sammy Price • Boogie & Jazz Classics

 

Price, a delightful, romping pianist in the vintage barrelhouse and boogie-woogie genres, interpreted, reworked, and remade a series of traditional blues and jazz tunes on this fine 1975 release. Everything, from song selection to solos, is wonderful.

Sam Price & The 'Rock' Band with King Curtis & Mickey Baker • Rib Joint

 

Review by Scott Yanow

Sammy Price had such a flexible piano style that he could fit into swing, boogie-woogie, blues, R&B, and rock & roll settings without altering his approach. During 1956, 1957, and 1959, Price led a series of blues-oriented instrumental jams featuring some notable sidemen in his quintet/sextet, including at various times tenor saxophonist King Curtis, guitarists Mickey Baker, Kenny Burrell, and Al Casey, bassists Leonard Gaskin, Jimmy Lewis, and Al Lucas, drummers Bobby Donaldson and Panama Francis, and sometimes baritonist Heywood Henry. The music included on this two-volume set (the complete sessions) is fairly basic and blues-oriented, and often has an early rock & roll beat. The solos of Price and Curtis (in a couple of his better instrumental outings) make this perfectly conceived two-fer of strong interest to jazz listeners.

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Revisión por Scott Yanow
Sammy Price tenía un estilo de piano tan flexible que podía adaptarse a los ajustes de swing, boogie-woogie, blues, R&B y rock & roll sin alterar su enfoque. Durante 1956, 1957 y 1959, Price lideró una serie de mermeladas instrumentales orientadas al blues con destacados sidemen en su quinteto / sexteto, que incluyen en varias ocasiones al saxofonista tenor King Curtis, a los guitarristas Mickey Baker, a Kenny Burrell y a Al Casey, a los bajistas Leonard Gaskin, Jimmy Lewis y Al Lucas, los bateristas Bobby Donaldson y Panama Francis, y en ocasiones el baritonista Heywood Henry. La música incluida en este conjunto de dos volúmenes (las sesiones completas) es bastante básica y está orientada al blues, ya menudo tiene un ritmo de rock and roll temprano. Los solos de Price y Curtis (en un par de sus mejores salidas instrumentales) hacen que este sea un tema perfectamente concebido de gran interés para los oyentes de jazz.