Jazz Icons: Jimmy Smith Live in '69

Jazz Icons é uma coleção de DVD's que trazem os grandes do Jazz em apresentações únicas e raras.

Hammond Organ- Jimmy Smith Guitar- Eddie McFadden Drums- Charles Crosby
Foreword: In this 1969 concert, Jimmy Smith was still at the top of his game. Trim and dapper, his enthusiasm in his playing is obvious from the start. The camera angles give us special insight into how Jimmy Smith did the remarkable things he did. Watching his performance of “The Sermon” is indeed special. We are permitted to see the entire instrument. Watching his left hand walk the bass on the lower manual is to witness a technique he invented. When he begins the drone with his right thumb and begins to improvise with the remaining fingers, he gets fired up and deeply into the feeling. This is one great piece of jazz video. He was a virtuoso soloist, an innovative combo leader, a best-selling recording artist and one of the four or five greatest jazz musicians of the last fifty years. BOB PORTER WBGO Sample Liner Notes by Ashley Kahn: By 1969, Smith was a well-traveled crowd-pleaser, a seasoned headliner well known on both sides of the Atlantic. His influence had launched a jazz subgenre and was starting to be felt in the rock world in the Hammond playing of Brian Auger, Gregg Allman, Keith Emerson, Jon Lord (of Deep Purple) and Gregg Rolie (Santana). A winter tour that year found Smith performing in London, Paris and other major European cities with his standard trio format featuring Eddie McFadden, who had played guitar on more than a few of Smith’s late 1950s Blue Note sessions, and Charles Crosby, a Memphis native known for his years drumming with B.B. King and later Rahsaan Roland Kirk. It is a measure of Smith’s stature overseas that through the 1960s he was regularly contracted by France’s leading jazz impresario team to play the top venues in the country. Daniel Filipacchi and Frank Ténot had enjoyed repeated success presenting Smith in Paris’s fabled Salle Pleyel — the theater in which a long line of jazz legends had performed from Django Reinhardt and Duke Ellington to Dizzy Gillespie and Miles Davis. Many historic jazz concerts were recorded there including one by Smith — a May 28, 1965, performance released as Live In Concert on Verve’s sister label Metro. Four and a half years later, Filipacchi and Ténot booked Smith for a one-night, two-set show at the Salle. This time, it was TV cameras capturing the evening’s performance; the producer was the country’s first black television producer, Gésip Légitimus. The taping resulted in two programs broadcast on French television, Smith’s second set from that evening aired in 1969, and his first set two years later. This DVD returns the performance to its original sequence. December 1, 1969 It was the first day of the closing month of a decade that had experienced — at an increasingly rapid rate — a variety of sweeping social and cultural changes. Outside Salle Pleyel, the sounds and the look of the 1960s were unavoidable in the headlines, the music and the way of dressing. Though not in step with the colorful, dress-down fashions on the street, the Jimmy Smith Trio looked sharp in the formal wear that had been the uniform for festival and theater engagements only a few years before. The two-part performance, aided by a generous number of camera angles and close-up shots, offers an insider’s take on the dynamics of Smith’s organ trio. He frequently cedes the first solo of a tune to McFadden, the more laid-back of the two, as a means of setting up his own improvisation. Some tunes obviously have been worked out — note McFadden’s taking the B part of the “Satin Doll” melody at the close of the second set — but Smith seemed to enjoy surprising his sidemen with unexpected leaps in volume or changes in melody. Crosby’s deft switching between sticks, brushes and mallets (even tambourine at one point) speaks to the intense follow-the-leader nature of the group. Smith’s organ sound is itself a revelation. In the 1950s, when he played single note lines, he tended to keep the Hammond’s “chorus” effect switched on — adding a small quiver to the instrument’s tone — and turn off the rotor in the Leslie (which only offered an “on” or “off” option). By 1969, the Leslie came with a slow or fast speed, and Smith changed his organ sound. He cut off the chorus, which produced a straighter organ tone, and relied on the rotors on the Leslies (Smith used two cabinets onstage) set on the “slow” speed, to be a dominant factor in his overall sound. The result was a large, wavy sonority on which the chords would float. The concert also provides a look at Smith’s choice of material at the time. Many of the tunes were drawn from recent Verve albums: a mix of older standards, a recent pop hit, a few down-tempo ballads, blues numbers (including a vocal), signature jams from his Blue Note years and “Satin Doll” — the Duke Ellington nugget Smith used to signal the close of his set. Speaking of song choices: it’s intriguing to note that, though the trio was apparently not working from a planned set list, Smith devoted the first set of the evening mostly to ballads and the second to blues.) FIRST HALF Smith kicks off the performance with an upbeat version of Sonny Rollins’ “Sonnymoon For Two,” by 1969 a hard bop perennial. McFadden plays a spirited solo, neatly handing off the tune to Smith’s improvisation, and Crosby’s crisp drumming adds both spark and drive. Smith’s solo on “Sonnymoon” immediately reveals another innovation in his playing since the 1950s. He is using a more modern harmonic language, favoring a lot of “fourths” – chords constructed of the fourth interval (in contrast to traditional chords based on the third), the same idea favored by pianists Bill Evans (on Miles Davis’ Kind Of Blue) and McCoy Tyner (with John Coltrane in general). Chord voicings employing fourths are noted for producing a more abstract effect, neither major nor minor, “because they avoid the familiar ring of popular songs,” according to jazz historian and pianist Lewis Porter. Just over a minute into his solo, Smith invents a lyrical line reminiscent of “Freddie Freeloader” (also from Kind Of Blue) that utilizes fourths for one chorus, a harmonic cue that McFadden follows on guitar.   Sonnymoon For Two Days Of Wine And Roses The Sermon Alfie Satin Doll Organ Grinder’s Swing Got My Mojo Working See See Rider A Funky Blues Called I Don’t Know My Romance Satin Doll 24-page booklet Liner notes by Ashley Kahn Foreword by Bob Porter, WBGO Cover photo by Jan Persson Booklet photos by Chuck Stewart, Lee Tanner, Jan Persson Memorabilia collage Total time: 90 minutes Prévia do DVD Site Oficial Download Link Único, aproveitem, ainda está Online.

The Master/Jimmy Smith Trio featuring Kenny Burrel (1994)

Album ao vivo, gravado em Osaka, Japão. Com o Grande Kenny Burrell na Guitarra e o não menos fenomenal
Jimmie Smith na batera, e é claro o Mestre do Hammond B-3 Jimmy Smith.
Destacando seus sucessos em vermelho,
curioso ter sido lançado pelo selo Blue Note e não por seu selo habitual, o Verve.



Jimmy Smith Trio - The Master

Label:Blue Note

Catalog#: 7243 8 30451 2 9

Format: CD, Album

Country: US

Released: 1994

Genre: Jazz


Tracklist

1 Chittlins Con Carne     5:43    
  Written-By - Kenny Burrell

2 It's Alright With Me     4:57    
  Written-By - Cole Porter

3 The Organ Grinder's Swing     3:44    
  Written-By - Irving Mills , Mitchell Parish , Will Hudson

4 The Preacher     5:50    
  Written-By - Horace Silver

5 All Day Long     7:01    
  Written-By - Kenny Burrell

6 I Got My Mojo Workin'     4:58    
  Written-By - McKinley Morganfield

7 When Johnny Comes Marching Home     5:54    
  (Traditional)

8 Back At The Chicken Shack     7:25    
  Written-By - Jimmy Smith

9 The Cat     3:40    
  Written-By - Lalo Schifrin

Credits
Drums - Jimmie Smith
Guitar - Kenny Burrell
Organ - Jimmy Smith
Producer - Hitoshi Namekata , Yoshiko Tsuge
Notes
Recorded live at KIRIN PLAZA OSAKA on December 24 & 25, 1993
Concert produced by NAOKI TACHIKAWA HIRO KAJIWARA & KIRIN PLAZA OSAKA
Album produced by HITOSHI NAMEKATA & YOSHIKO TSUGE.


Link do Arquivo

The Budos Band I (2005)

“Funk” music is forever branded as kitsch and “retro” in our pop culture, and that’s a damn shame.
Given that such music is the foundation for so much contemporary and so-called “futuristic” dance music, funk has an intrinsic timelessness. Ditch the “wonka, wonka” guitar licks, the stereotypical Blaksploitation and 70’s porn stereotypes, and all of the Me Decade’s schlock, and the music has tremendous power. “Heavy-funk,” which strips the music down to pure minimalist groove – as heard from The Meters, James Brown, and Sly Stone, to name too few – is arguably the best incarnation of how the music shoots directly into the body and soul with fewer chords than punk and enough breakbeats to supply hip-hop, jungle, and house DJs for decades. In short, heavy-funk can be pure hypnosis. Listening to the first few meters and the opening snare snap of the Meters’ “The Handclapping Song” is enough to do the job for me. The work of recent “heavy-funk” revivalists such as Sugarman Three, Breakestra, the Poets of Rhythm, and Sharon Jones and the Dap-kings faithfully swing that therapist’s watch and retain the soul without succumbing to telling the music as a punchline that befell to the music in Hollywood and Baby Boomer “what were we thinking back then?” kitsch.
Here comes The Budos Band, walking off a Staten Island ferry and armed with chops they sharpened after school at a community center. There is no amateurishness here; their instrumentals could’ve been performed in 1970 as much as 2005. The 11-piece ensemble’s eponymous debut album, recorded in just three nights, is one of this year’s best dance records, embodying funk’s best elements and keeping the mind locked in their hands throughout most of its too-brief 37 minutes. Although their take on heavy-funk is certainly up there with their label mates on Brooklyn’s Daptone, namely the Sugarman Three and Sharon Jones, they also enrich their attack with deft afro-beat dynamics and hornwork. The sound is equal parts Meters and Fela Kuti as the band follows a simple, cowbell-driven cadence and let the brass sing. The psych tip that graces their guitar melodies, their flute’s trails of echo and tribal rhythms that can lead any Pied Piper march from the club and onto the streets, only augment these touchstones.
Opener, “Up From the South” begins with a “she loves me/she loves me not” bassline. The Afro-funk percussion then struts in, while the brass section and organ riffs all announce the band’s name loud enough to be heard across three states. The following “T.I.B.W.F.” has a stronger groove with a grouchy baritone sax stamping its feet after what seems to be a pitiful breakup as the brasses follow it and repeatedly shout “get over it, dammit!” But even with the raucousness of it all, the trumpet solo is calm, placing an arm on the Romeo’s shoulder. Elsewhere, the band revives Fela’s ghost in the brilliant space out trance of “Eastbound,” and steadily glides through the Latin funk of “Monkey See, Monkey Do.” They later begin “King Charles” with them laughing at a member’s shoddy impression of a monarch before they pepper out a groove akin to an after-hours nap on the last subway train of the night, watching the streetlights dance across the window.
Unfortunately, a few of the slow groove pieces tend to walk in circles. The Budos are at their best when chasing a beat like frenetic but calming “Budos Theme,” and are able fuel themselves enough to launch far into the sky with just three notes in “The Volcano Song.” They amazingly improve on a funk classic in their cover of Sly and the Family Stone’s everyman hedonism of “Sing a Simple Song.” Their full 11-piece orchestration and three-dimensional production all sound like the song is being heard through the walls of a Garden of Eden that grows in Staten Island.

Link This Release

Site Oficial: http://www.thebudos.com/

Budos Band, The – The Budos Band

Label:Daptone Records

Catalog#:DAP-005

Format:Vinyl, LP, Album



Country:US

Released:2005

Genre:Funk / Soul

Style:Funk

Tracklist

A1 Up From The South 3:26

A2 T.I.B.W.F. 2:40

A3 Budos Theme 3:09

A4 Ghost Walk 2:13

A5 Monkey See, Monkey Do 6:01



B1 Sing A Simple Song 3:18

Written-By – S. Stewart*

B2 Eastbound 3:43

Written-By – B. Profilio*

B3 Aynotchesh Yererfu 3:13

Written-By – S. Belay*

B4 King Charles 3:09

Written-By – M. Irwin* , N. Sugarman*

B5 The Volcano Song 2:50

Written-By – A. Green* , M. Deller*

B6 Across The Atlantic 3:28



Credits

Art Direction – Samuel Tresser

Bass Guitar – Daniel Foder

Cabasa – Johnny Griggs

Congas – Duke Amayo

Congas, Bongos – Rob Lombardo

Cowbell, Claves, Tambourine – Dame Rodriguez

Design [Sleeve Design] – Ann Coombs

Drums – Brian Profilio

Drums, Congas – John Carbonella Jr.

Electric Guitar – Thomas Brenneck

Executive Producer – Roth , Sugarman

Flute – Daisy Sugarman

Mastered By – Don Grossinger

Mixed By – Gabriel Roth , Tomás Biosh

Organ – Mike Deller

Photography [Cover Photo] – Jim Sugar

Producer – Bosco Mann , TNT*

Recorded By – Gabriel Roth

Rhythm Guitar, Cowbell, Congas – Bosco Mann

Saxophone [Baritone] – Jared Tankel

Saxophone [Tenor], Tambourine – Neal Sugarman

Shekere – Vincent Balestrino

Trumpet [1st] – Andrew Greene

Trumpet [2nd] – Michael Irwin

Written-By – B. Mann* (tracks: A4, B6) , D. Foder* (tracks: A1 to A3, B4, B5) , J. Tankel* (tracks: A2, A3, B2) , T. Brenneck* (tracks: A1 to A5, B2, B4, B6)

Notes

Recorded and Mixed at DAPTONE STUDIOS, Bushwich, Brooklyn.



Link Original