Sam Mangwana - Suzanna. When Sam was here in Montreal during the Nuits d'Afrique festival, I met him during one of the intermissions. He freaked at how I know Congolese music, and I told him this song of his is a favorite of mine, and he asked me to sing a duet with him! http://youtu.be/84IefYSHMFc
This guy named Sam Mangwana has music which makes me soooooooo nostalgic for when I was in my late 20's and early 30's. I met him some years ago here in Montreal during the Nuits d'Afrique festival, and he asked me to sing this song with him on the stage! http://youtu.be/H4W4Lv5IFNY
http://youtu.be/iZ0bZyu2DLY Another Congolese artist whose music fills me with nostalgia and joy. This singer named Pamelo Mounka was famous many years ago.
Bassist Eldee Young and drummer Isaac "Red" Holt attended the American Conversatory of Music in Chicago together, and played together in a dance orchestra called the Cleffs, where they met pianist Ramsey Lewis and formed a popular jazz trio in 1956. After a decade as Lewis' rhythm section, Young and Holt split to form their own act in the wake of the trio's breakout pop hit "The 'In' Crowd." Hiring pianist Hysear Don Walker and christening themselves the Young-Holt Trio, they scored a quick Top 20 R&B hit with the infectious and silly "Wack Wack." Most of their material, recorded on several LPs for Brunswick, cut an invigorating soul-jazz groove that explored the territory between Jimmy Smith and Junior Walker, with dour bass, Ray Charles-inspired keyboards, faint scat vocals, and a live party ambience. In 1968, Walker was replaced by Ken Chaney as Young and Holt tightened up their sound, added some funky rhythms, and renamed the group Young-Holt Unlimited. They scored a left-field smash with the instrumental "Soulful Strut," which was actually the backing track from Brunswick soul singer Barbara Acklin's "Am I the Same Girl." Although the actual Young-Holt group was rumored not to have even played on the track, it went all the way to number three in 1969, driven by a bright, indelible horn riff. Attempts to duplicate its success met with indifference, and although Young-Holt Unlimited remained a popular concert attraction on both the R&B and jazz circuits (sometimes with pianist Bobby Lyle in place of Chaney), their recording career was on the wane. They cut LPs for Atlantic (1972's Oh Girl) and Paula (1973's Plays Superfly) that failed to restore their commercial momentum, and disbanded in 1974. Both Young and Holt reunited with Ramsey Lewis in 1983. - Steve Huey http://www.allmusic.com/artist/young-holt-unlimited-p21950/biography
Check out these cats playing in Paris...An example of Barry Harris' direct influence... http://www.youtube.com/watch?v=x_g6ZTgY73Y
MY FAVORITE THINGS JOHN COLTRANE THE SUPREME QUARTET Live 1965 John Coltrane is my favorite interpreter of this song!
Dusty in Memphis - Dusty Springfield Britain's greatest pop diva, Dusty Springfield was also the finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of Springfield's voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth. She was born Mary O'Brien on April 16, 1939, and raised on an eclectic diet of classical music and jazz, coming to worship Peggy Lee; after completing her schooling she joined the Lana Sisters, a pop vocal trio which issued a few singles on Fontana before dissolving. In 1960, upon teaming with her brother Dion O' Brien and his friend Tim Feild in the folk trio the Springfields, O'Brien adopted the stage name Dusty Springfield; thanks to a series of hits including "Breakaway," "Bambino," and "Say I Won't Be There," the group was soon the U.K.'s best-selling act. After the Springfields cracked the U.S. Top 20 in 1962 with "Silver Threads and Golden Needles," the group traveled stateside to record in Nashville, where exposure to the emerging American girl-group and Motown sounds impacted Dusty so profoundly that in 1963 she left the Springfields at the peak of their fame to pursue a solo career. Her first single, "I Only Want to Be With You," boasted a dramatic sound and soulful melody worthy of a Phil Spector hit, and it quickly reached the British Top Five; it also fell just shy of the Top Ten in the U.S., where it became the first major record from a U.K. act other than the Beatles since the Fab Four's launch of the British Invasion. Her biggest American Top Ten hit, "Wishin' and Hopin'," was the first in a series of Springfield smashes from the pen of songwriters Burt Bacharach and Hal David; she would subsequently cover Bacharach/David classics including "Anyone Who Had a Heart" and "I Just Don't Know What to Do With Myself," surpassed only by Dionne Warwick as the finest interpreter of the duo's songs. Additionally charting with hits including "Stay Awhile" and "All Cried Out," by the end of 1964 Springfield was arguably the biggest solo act in British pop, winning the first of four consecutive Best Female Vocalist honors in NME; that same year, she also created a political furor after she was deported from South Africa for refusing to play in front of racially segregated audiences. Returning to England, in 1965 Springfield hosted the television special The Sound of Motown, a show widely credited with introducing the Sound of Young America to the their British counterparts, and continued racking up smashes like "Losing You," "Your Hurtin' Kinda Love," and "In the Middle of Nowhere"; in 1966, she scored her biggest international hit with the devastating ballad "You Don't Have to Say You Love Me," which topped the U.K. charts and reached the Top Five in the U.S. The soundalike "All I See Is You," another heart-wrenching evocation of unrequited love, soon reached the British Top Ten as well; it was followed, however, by the Bacharach/David-penned "The Look of Love," a bossa nova-inflected classic positively radiating with dreamlike sensuousness. By 1968, however, Springfield's commercial fortunes were on the decline -- in the wake of Sgt. Pepper and the Summer of Love, "girl singers" were now widely perceived as little more than fluff. In response, she signed to the American label Atlantic, traveling to Memphis to record with producers Jerry Wexler, Tom Dowd, and Arif Mardin; the resulting album, issued in early 1969 as Dusty in Memphis, remains her masterpiece, a perfect marriage of pop and soul stunning in its emotional complexity and earthy beauty. Although the classic single "Son of a Preacher Man" cracked the Top Ten on both sides of the pond, the album itself was nevertheless a commercial failure, as was its fine 1970 follow-up, A Brand New Me, recorded in Philadelphia with the input of the songwriting/production team of Kenny Gamble and Leon Huff. After completing 1972's See All Her Faces, Springfield relocated from London to New York City, eventually settling in Los Angeles; there she signed to ABC/Dunhill and recorded 1973's Cameo, another critical success which like its predecessors made virtually no impact on the charts. A projected follow-up, Longings, was abandoned prior to its completion, and apart from singing backup on Anne Murray's Together album, Springfield spent the mid-'70s outside of music while battling substance abuse problems. She finally resurfaced in 1978 with the Roy Thomas Baker-produced It Begins Again, followed a year later by Living Without Your Love; both attracted little notice, although the non-album single "Baby Blue" was a minor British hit in 1979. Apart from a handful of soundtrack contributions, Springfield was silent until returning to London in 1982 to record White Heat, an album firmly grounded in the prevailing synth-pop sound of its times; again, despite good critical notices, a comeback failed to materialize. She would release just a handful of singles over the next few years, including the 1984 Spencer Davis duet "Private Number," the 1985 ballad "Sometimes Like Butterflies," and a 1987 collaboration with Richard Carpenter, "Something in Your Eyes," which became a minor success in the U.S. Upon returning to California in 1987, Springfield was contacted to collaborate with techno-pop innovators the Pet Shop Boys on a duet titled "What Have I Done to Deserve This?" The single was a global blockbuster, peaking at number two in both the U.S. and the U.K., and it introduced her to a new generation of listeners; Pet Shop Boys Neil Tennant and Chris Lowe also agreed to produce a handful of tracks for 1990's Reputation, which became Springfield's best-selling new album since her '60s-era peak. The follow-up, 1995's country-influenced A Very Fine Love, was recorded in Nashville; during sessions for the album, she was diagnosed with breast cancer, and after months of radiation therapy the illness was believed to be in remission. By the summer of 1996, however, the cancer had returned, and on March 2, 1999, Springfield died at the age of 59; just ten days later, she was inducted into the Rock and Roll Hall of Fame. by Jason Ankeny - http://www.allmusic.com/artist/dusty-springfield-p5503/biography
Yeah man...the first sax (alto) man and guitar slinger are brothers, the alto bro. is Luigi was was 24 when they did this last year and has been studying with Barry since he was 11... Although all those cats have studied with Barry. And on "My Favorite Things...I must agree with you... With all due respect to Julie Andrews of course...
My favorite version of this song. It has soul, some really good rap (late 1960's / early 1970's when rap actually made sense), wonderful vocals. excellent guitar, organ and horn backup band, a dog named Sam, and harmonica. Little Junior Parker - Funny How Time Slips Away His velvet-smooth vocal delivery to the contrary, Junior Parker was a product of the fertile postwar Memphis blues circuit whose wonderfully understated harp style was personally mentored by none other than regional icon Sonny Boy Williamson. Herman Parker, Jr. only traveled in the best blues circles from the outset. He learned his initial licks from Williamson and gigged with the mighty Howlin' Wolf while still in his teens. Like so many young blues artists, Little Junior (as he was known then) got his first recording opportunity from talent scout Ike Turner, who brought him to Modern Records for his debut session as a leader in 1952. It produced the lone single "You're My Angel," with Turner pounding the 88s and Matt Murphy deftly handling guitar duties. Parker and his band, the Blue Flames (including Floyd Murphy, Matt's brother, on guitar), landed at Sun Records in 1953 and promptly scored a hit with their rollicking "Feelin' Good" (something of a Memphis response to John Lee Hooker's primitive boogies). Later that year, Little Junior cut a fiery "Love My Baby" and a laid-back "Mystery Train" for Sun, thus contributing a pair of future rockabilly standards to the Sun publishing coffers (Hayden Thompson revived the former, Elvis Presley the latter). Before 1953 was through, the polished Junior Parker had moved on to Don Robey's Duke imprint in Houston. It took a while for the harpist to regain his hitmaking momentum, but he scored big in 1957 with the smooth "Next Time You See Me," an accessible enough number to even garner some pop spins. Criss-crossing the country as headliner with the Blues Consolidated package (his support act was labelmate Bobby Bland), Parker developed a breathtaking brass-powered sound (usually the work of trumpeter/Duke-house-bandleader Joe Scott) that pushed his honeyed vocals and intermittent harp solos with exceptional power. Parker's updated remake of Roosevelt Sykes's "Driving Wheel" was a huge R&B hit in 1961, as was the surging "In the Dark" (the R&B dance workout "Annie Get Your Yo-Yo" followed suit the next year). Parker was exceptionally versatile -- whether delivering "Mother-in-Law Blues" and "Sweet Home Chicago" in faithful down-home fashion, courting the teenage market with "Barefoot Rock," or tastefully howling Harold Burrage's "Crying for My Baby" (another hit for him in 1965) in front of a punchy horn section, Parker was the consummate modern blues artist, with one foot planted in Southern blues and the other in uptown R&B. Once Parker split from Robey's employ in 1966, though, his hitmaking fortunes declined. His 1966-1968 output for Mercury and its Blue Rock subsidiary deserved a better reception than it got, but toward the end, he was covering the Beatles ("Taxman" and "Lady Madonna," for God's sake!) for Capitol. A brain tumor tragically silenced Junior Parker's magic-carpet voice in late 1971 before he reached his 40th birthday. In 2001, he was inducted into the Blues Hall of Fame. by Bill Dahl - Allmusic.com http://www.allmusic.com/artist/junior-parker-p112422/biography
