Donald Fagen: Morph the Cat Sometimes tight-knit teams like Donald Fagen and Walter Becker—better known as Steely Dan—make it difficult to determine what each individual brings to the table. It's no secret that Becker and Fagen have strong jazz sensibilities, not to mention an affection for Tin Pan Alley, having started out as staff writers for ABC Records before realizing their music was too sophisticated for the artists they were writing for. But Fagen's previous solo albums—Nightfly (Reprise, 1982) and Kamikiriad (Reprise, 1993)—and Becker's 11 Tracks of Whack (Giant, 1994) suggest that Becker is the more acerbic and idiosyncratic of the pair. That's not to say that Fagen's new album, Morph the Cat, is filled with anything resembling joyous optimism. Fagen addresses topics like homeland security ("Security Joan"), the current administration ("Morph the Cat") and cults ("Mary Shut the Garden Door"), as well as personal issues like impending mortality ("Brite Nightgown"). The ghost of Ray Charles even shows up on the reharmonized minor blues of "What I Do." Nor has Fagen lost his sardonic way with words. Who else could come up with a phrase like "Rabelaisian puff of smoke"? But Fagen grooves just a little deeper on his own than he does with Becker, giving the darker subject matter a veneer that has you bopping your head along, even as he talks of alien invasion and death—a quality that has always made both his and Steely Dan's albums so intriguingly paradoxical. Ignore the lyrics and the polished grooves are so infectious and the playing so tasty that Fagen's sharp wit and rich jazz harmonies become obscured by the music's sheer visceral nature. The pieces are short-lived—these are pop tunes after all—but there are plenty of outstanding solos to keep the often six to seven-minute songs interesting. Walt Weiskopf's lithe tenor elevates the sneaky "Black Cow"-like funk of the title track and the more up-tempo "H Gang"; Fagen's melodica features on the down-and-dirty "Mary Shut the Garden Door"; Marvin Stamm's trumpet carries the breezier "The Great Pagoda of Funn"; and Howard Levy's harmonica adds colour to "What I Do." Morph the Cat is also Fagen's most guitar-centric record—in or out of Steely Dan—since the Dan's classic Royal Scam (MCA, 1976). No less than six guitarists, including mainstays Jon Herrington, Wayne Krantz and Hugh McCracken, deliver everything from clean singing lines to grungy dirt and, on "H Gang," a tone harkening back to the classic voice-box solo on "Haitian Divorce." It's true that Becker and Fagen's easy-on-the-ears approach has contributed to the evolution of today's contemporary jazz radio stations, where the agenda is clearly "jazz lite," and Morph the Cat will undoubtedly get airplay on these stations. But there's always been something more authentic and physical about Fagen and Steely Dan's records. In terms of product placement, Morph the Cat may be undeservedly lumped in with smooth jazz, but make no mistake: this is an album that deserves serious consideration for its topical lyrics, natural grooves, outstanding performances and, ultimately, sheer humanity. Track Listing: Morph the Cat; H Gang; What I Do; Brite Nightgown; The Grand Pagoda of Funn; Security Joan; The Night Belongs to Mona; Mary Shut the Garden Door; Morph the Cat (reprise). Personnel: Donald Fagen: Fender piano, piano, organ, melodica solo (8), vocals, backup vocals; Keith Carlock: drums; Freddie Washington: bass guitar, Harlan Post Jr.: acoustic bass; Brian Montgomery: remedial bass guitar (9); Jon Herington: guitar, guitar solos (1, 2), chorus solo (9); Wayne Krantz: guitar, guitar solos (4,5); Hugh McCracken: guitar (1-3,9); Frank Vignola: guitar (1), tag guitar solo (9); Ken Emerson: guitar (3); Ken Wessel: guitar solo (6); Phonus Quaver: vibes and marimba (1,9), marimba (4), vibes (5,8); Ted Baker: piano (2,5), whirly piano (3,6), Fender piano (7,8); Marvin Stamm (trumpet; Walt Weiskopf: tenor saxophone, tenor saxophone solo (1,2), alto saxophone (4); Mark Patterson: trombone; Lawrence Feldman: clarinet (2), tenor saxophone (4,5), flute (7); Roger Rosenberg: baritone saxophone, bass clarinet; Gordon Gottlieb: percussion (2,4,6-8); Bashiri Johnson: percussion (4); Joe Pasaro: percussion (5); Jerry Barnes: backup vocals (1,5,9); Michael Harvey: backup vocals (1,6,9); Amy Helm: backup vocals (3); Carolyn Leonhart: backup vocals (3,8); Cindy Mizelle: backup vocals (3); Howard Levy: harmonica (7), harmonica solo (3); Illinois Elohainu: flute (8). Record Label: Reprise | Style: Fringes of Jazz By JOHN KELMAN http://www.allaboutjazz.com/php/article.php?id=20874
Dr. John Live - Stripped down acoustical piano or electric piano versions of his songs without a lot of background. Sparse but interesting to hear him pound the keys without anything else in the way.
band : Abney park Album : off the grid This albums is unlike most of there previous works. It steps away from the electo steam punk there usually known for. It turns in the direction of Neo-folk with a slovic/abribic feel combined with there melodic vocals and old time instuments makes for a well rounded sonic experiance.
Charlie Haden / Hank Jones: Come Sunday Come Sunday continues the dialog between two jazz masters—bassist Charlie Haden and pianist Hank Jones—that began with 1995's Steal Away (Verve). The topic of discussion concerns hymns, spirituals, and beloved tunes which are, without a doubt, personal and familiar to both musicians. Jones (the elder sibling of jazz luminaries Elvin Jones and Thad Jones) was the son of a devout Baptist deacon while Haden grew up performing in his family's radio show, which included country and American folk music. Though conversational in tone, the date's significance is understated—more than just two renowned musicians playing together. Recorded shortly before his death in 2010, it is one of Jones' final recordings, and serves as a reminder of his lyrical touch, accompanied here by Haden's empathy and resonance. Any indications of Jones health were nonexistent. At 91, his melodicism and technical abilities continue to astound, whether swinging gracefully on "Down by the Riverside" or gently on "Bringing In The Sheaves," as Haden's workmanship guides with unassuming assurance. The two seemed to be enjoying themselves immensely, keeping the tunes pretty much intact but also illuminating their inner qualities, as the swanky cadence of "Give Me That Old Time Religion" silently echoes the song's sentiment, "It's good enough for me." There are moments, such as the duo's powerful exchange in "Were You There When They Crucified My Lord?" and the serenity in "Nearer My God To Thee," that speak of the musicians' delicate and self-effacing approach. At first, the two seasonal songs—"God Rest Ye Merry, Gentlemen" and "It Came Upon A Midnight Clear"—seem totally out of place, but ultimately fit perfectly within the context of this time-weathered set. While the covers are taken primarily from sacred compositions, the tunes transcend both religious and secular boundaries and can be appreciated on many levels. From the duo's unobtrusive interpretations to the way in which the Jones and Haden communicate, the melodies contain a quiet magic whose crowning jewel is found in the beloved title track, written by the great Duke Ellington. It is an apropos sentiment to this moving release. Track Listing: Take My Hand, Precious Lord; God Rest Ye Merry Gentleman; Down By The Riverside; Going Home; Blessed Assurance; It Came Upon A Midnight Clear; Bringing In The Sheaves; Deep River; Give Me That Old Time Religion; Sweet Hour of Prayer; The Old Rugged Cross; Were You There When They Crucified My Lord?; Nearer My God to Thee; Come Sunday. Personnel: Charlie Haden: bass; Hank Jones: piano. Record Label: EmArcy | Style: Modern Jazz MARK F. TURNER, Published: January 18, 2012 Now my own impressions. This is very reminiscent of what Vince Guaraldi did in the 1960s in developing the soundtracks for the Peanuts cartoons. Taking the old gospel songs and providing strong technical jazz "chops" and gentle personal "finesse" to each song. If you need an album to provide solace and one to clear your mind and soul, give this one a try.
Rich, if you have a Rhapsody account, it is on that system. It may be on many more for all I know. That is how I learned of this album. I bought the CD based on hearing this. The song "Going Home" by itself is worth the price of the CD!
Many times people ask for a definition of cool. Playing this solves the problem. If they hear this and don't understand, they will never understand! "Dr. Sax" Michael Franks: Live at the Blue Note Tokyo 5th Anniversary Celebration 02 July 1993 Musicians Vocal: Michael Franks Saxophone: Chris Hunter Keyboards: Charles Blenzing Guitars: Jay Azzolia Bass: Steve Logan Drums: Clinton de Ganon Vocal: Veronica Nunn
Kenny Drew Quintet 1960 ~ The Pot's On Recorded: Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 11, 1960 Personnel: Freddie Hubbard - Trumpet Hank Mobley - Tenor Sax Kenny Drew - Piano Sam Jones - Bass Louis Hayes - Drums
Of all my records recorded by RVG this is the one I keep coming back to. I can never get enough of this.
Eddie Hazel - Games, Dames and Guitar Thangs A mythical figure, original Funkadelic guitarist Eddie Hazel pioneered an innovative funk-metal sound in the early '70s, best exemplified on his mammoth classic instrumental jam "Maggot Brain." This mythological status arises from his brief, mysterious era of productivity, a shadowy three-album cycle capped by Maggot Brain that came to a close as Hazel's notorious drug problems began to haunt him, resulting in personal disputes with George Clinton, a jail sentence, and ultimately his slow death to liver failure. Yet even though Hazel's notable accomplishments are few -- reserved mostly to the first three Funkadelic albums, a 1977 solo album, and legendary live performances -- these accomplishments were highly influential. At the time, Hazel seemed a clear successor to the deceased Jimi Hendrix, one of the few black guitar players merging an acid rock approach with an R&B aesthetic. Furthermore, Hazel took things a step further, integrating a heavy dose of funk into his fiery guitar work as well, setting the precedent for successive Parliament/Funkadelic guitarists, as well as later generations of funk-metal guitarists. Though born in Brooklyn on April 10, 1950, Eddie Hazel grew up outside the city in Plainfield, NJ, since his mother, Grace Cook, didn't want her son growing up in a negative, drug-littered environment (though, ironically, Plainfield wasn't much better in regard to drugs). While his mother commuted back and forth to Brooklyn to work as a silk presser, the young Eddie spent most of his time playing the guitar his brother had bought for him as a Christmas gift. In addition to his self-trained guitar playing, Eddie also sang in church and eventually met Billy "Bass" Nelson when he was only 12 -- the two instantly began playing together, teaching each other to sing and play guitar. Once they met up with yet another local youth, drummer Harvey McGee, they began jamming together as a trio, trying to learn all the early-'60s Motown hits. In 1967, another much more established Plainfield group, the Parliaments, had suddenly found themselves experiencing a considerable level of success and wanted to mount a tour. They needed a backing band, though, and looked to Nelson for help. Unfortunately, Hazel was nowhere to be found, supposedly in Newark, NJ, working with producer George Blackwell. When Nelson returned from a short summer tour in August, the first thing he did was hunt down Hazel in hopes of beefing up the Parliaments' rhythm section. There was one problem, though -- Eddie's mother. She wasn't crazy about the idea of letting her 17-year-old son head out on a tour with George Clinton's ensemble of wild musicians. Yet after a little begging and some convincing on both Clinton's and Nelson's part, Ms. Cook agreed to let her son follow his ambitions. The Parliaments went back on tour in September 1967, with Nelson and Hazel anchoring the rhythm section. In Philadelphia during a show at the Uptown Theater, Hazel met Tiki Fulwood, who was the Uptown's house drummer. The two instantly became close friends, going out partying after the show together. Furthermore, since both Nelson and Hazel were unhappy with their drummer at the time, they argued with Clinton about replacing the Parliaments' inadequate drummer with Fulwood. By the time they left Philadelphia, the Nelson/Hazel/Fulwood rhythm section was finally in place, a tight squad that spawned Funkadelic. In essence, Funkadelic was just a continuation of the Parliaments. With group member Calvin Simon gone off to the war, and with Hazel and Fulwood now in the group, the Parliaments abandoned their uniforms, donned extravagant costumes or street clothes, and began playing increasingly rock-influenced music driven by Hazel's dirty fuzz tone and Hendrix-influenced acid rock approach. The change to Funkadelic then became official with the introduction of Tawl Ross on rhythm guitar and Bernie Worrell on keyboards, resulting in a series of three landmark albums: the group's self-titled debut (1970), Free Your Mind...and Your Ass Will Follow (1970), and Maggot Brain (1971). Maggot Brain ended up being one of the group's more essential albums, thanks primarily to Hazel's guitar playing. In particular, the title track has become his legacy, an epic instrumental piece fashioned as an emotive eulogy that has become a perennial staple of the group's live shows over the decades. The song's origins are supposedly rooted in a recording session where Clinton told Hazel to envision the saddest thought possible, his mother's death, and use that vision as inspiration. Other myths involve Hazel's voracious drug intake, a characteristic that led to the nickname "Maggot Brain." Either way, the song made Hazel famous and secured his legacy for successive decades. Unfortunately, following Hazel's most promising moment and greatest accomplishment to date, his career began descending quickly. It's no secret that the early Funkadelic lineup suffered through drug problems during this early-'70s era, as first Ross was ousted from the group for his increasing LSD-related unreliability. Soon after, Clinton became equally frustrated with Hazel's and Fulwood's growing drug abuse, often cutting off their pay so that they wouldn't go spend it on illicit substances. These problems most obviously came to light on the follow-up to Maggot Brain, 1972's America Eats Its Young, where Hazel's role was minimal. Furthermore, the guitarist began working with fellow Detroiters the Temptations instead, contributing guitar and songwriting to Zoom (1973) and Song for You (1975). Hazel's drug abuse problems finally caught up with him in 1974, with an indictment resulting from an airline incident that involved him assaulting a stewardess. In his absence, Clinton integrated the potent duo of Garry Shider and Ron Brylowski into Funkadelic, and later Michael Hampton (a young guitar prodigy who caught the band's attention by playing a note-for-note rendition of "Maggot Brain" at a party in Cleveland). Hazel returned from exile for 1974's Standing on the Verge of Getting It On, with strong guitar contributions and co-writing credits with George Clinton on several songs, but by the next album (Let's Take It to the Stage), Hazel was taking a secondary role to the new roster of Parliament/Funkadelic guitarists. While Hazel's role in Parliament/Funkadelic had diminished by the late '70s, Clinton did grant him the opportunity to record a solo album for Warner Brothers, 1977's Games, Dames and Guitar Things. The album featured covers of "California Dreamin'" and "I Want You (She's So Heavy)," along with a few songs written by Clinton and Bootsy Collins. The nine songs all prominently feature Hazel's lead guitar work, along with a considerable amount of backing vocals courtesy of the Brides of Funkenstein. Incredibly rare and highly collectable for years as a vinyl-only release, the album remains one of the better P-Funk albums of the late '70s, highlighted by its guitar-heavy sound. Following this album, Hazel continued to play with Clinton in successive years, but his contributions were never major, and he slowly descended further into oblivion, eventually suffering from chronic stomach problems and ultimately dying on December 23, 1992, from internal bleeding and liver failure. In the wake of his death, two posthumous collections of unreleased material were released. Jams From the Heart surfaced first in 1994, a brief four-song EP that eventually was eclipsed by a second import release, 2000's Rest in P. This latter collection compiled the material from Jams From the Heart along with a few other leftovers dug up from the vaults. In 2004 Rhino Homemade finally reissued Games, Dames and Guitar Things, appending the Jams From the Heart EP as an added bonus. by Jason Birchmeier Allmusic.com http://www.allmusic.com/artist/eddie-haz.../biography
Smiling Faces: The Best of Undisputed Truth It's not exactly fair to peg the Undisputed Truth as a one-hit wonder, because they did have a few hits for Motown in the first half of the 1970s (albeit only one big one), as well as made half a dozen albums for the label. Still, it's not that far from the truth. Nothing else they did matched the strength of "Smiling Faces Sometimes," which made number three in 1971. Crafted by Norman Whitfield, Motown's most adventurous producer of the time, it employed the funk-psychedelic guitars and ominous, socially aware lyrics that were also characteristic of his work with the Temptations during the period. The Undisputed Truth came into being after Bobby Taylor brought Billie Rae Calvin and Brenda Joyce to Motown as part of the Delicates. When the Delicates broke up, the pair kept busy doing background vocals for the Four Tops, Diana Ross, and Edwin Starr. Whitfield teamed them up with Joe Harris of the Preps, laying the groundwork for the male-female vocal interplay that would typify their Motown sessions. It's fair to say that the Undisputed Truth were little more than a mouthpiece for Whitfield. He wrote most of their material (sometimes in association with Barrett Strong), and used their sessions as a laboratory to devise funk rhythms and psychedelic guitar effects. He was doing the same thing with the Temptations, and the Undisputed Truth's records couldn't help but suffer in comparison. As vocalists they weren't in the same league as the Temps, and Whitfield was most likely reserving his real killer songs for the more famous group. The group never approached the success of "Smiling Faces Sometimes" again, although they racked up a series of modest R&B hits through the mid-'70s. The best of these were "You Make Your Own Heaven and Hell Right Here on Earth" (which perhaps recalled "Smiling Faces" a little too closely) and the original version of "Papa Was a Rollin' Stone," which Whitfield would quickly redo with the Temptations for a much more definitive (and massively successful) version. Little else in the Undisputed Truth discography demands attention, though Motown scholars will find their work worth a listen to investigate some of the ideas rattling around Whitfield's head in the 1970s. by Richie Unterberger Allmusic.com http://www.allmusic.com/artist/the-undisputed-truth-p5729/biography
