Wes MONTGOMERY - Tequila 1966

Wes MONTGOMERY - Tequila 1966
Label: Polygram
Audio CD: (November 9, 1999)

Jazz

As Steve Khan observes in his lovingly detailed liner notes, TEQUILA stands as the only album in the Wes Montgomery catalog where the guitarist is not accompanied by a keyboardist of some kind. This, in Khan's opinion, is one of the special things about this album, as it allows one to hear Montgomery's guitar with even greater clarity than usual.
Since Louis Armstrong, one of the truisms of jazz has been that a great improviser can spin gold out of the lowest pop dross imaginable. Montgomery certainly had this ability, among his many others, and from around the time of this album on it was called upon more and more frequently. While there's an abundance of small-combo recordings on Riverside, there's also plenty of great playing on the Verve albums in general and TEQUILA in particular. And TEQUILA is certainly informative listening for anyone curious about the origins of George Benson's approach on CTI and later on Warner Brothers, or, for that matter, the entire smooth jazz radio concept.
From CD Universe.
**
I've never understood those so-called "purists" who raise a ruckus with shouts of "SELL OUT!" and "INAUTHENTIC!" as soon as a musician sails into previously uncharted waters. They called out the dogs when Richard Carpenter closed out 'GOODBYE TO LOVE' with a loud fuzz guitar solo. (He was later credited with having invented the "power ballad" formula with this blasphemy!) They were ready to crucify Bob Dylan when he started singing about Jesus with SLOW TRAIN COMING. (Never mind that it happened to be the freshest, most exciting and heartfelt music he'd created in years!) When WES MONTGOMERY allowed his innovative Jazz guitar style to explore modern Pop pieces, his fans began to abandon ship in droves. And when he went so far as to...(dare I even say it?)...add a dollop of strings on the TEQUILA set, they were ready to torpedo his boat themselves. He had "sold out" they said. Sold out to what? I'll tell you : MORE great music!

In the informative booklet notes, Montgomery's fellow Jazz guitarist, Steve Khan writes, "Like most Jazz fans, I prefer albums on which the tracks are timed at six minutes or more; anything less than that usually means limited space for improvising. But perhaps looking at the art of recording only in this manner causes one to miss works of extraordinary beauty and grace. TEQUILA is just such a recording." Khan later (courageously?) confesses that 'MIDNIGHT MOOD' is "one of the most beautiful pieces Montgomery ever recorded." Here's a person mature enough to realize that great music is great music, at six minutes, or less; with or without strings. It just so happens that my favorite track here is probably 'LITTLE CHILD (DADDY DEAR)', the shortest at just two and a half minutes, WITH strings (which only enhances the moving, melancholic melody.)

TEQUILA has a slightly Latinized feel to it, thanks to the title track, the inclusion of Antonio Carlos Jobim's classic, 'INSENSATEZ (HOW INSENSITIVE)', and especially the conga playing of Ray Barretto on half of the tracks. But make no mistake about it, this is genuine Jazz - there's Grady Tate on drums and the legendary Ron Carter on the stand-up bass (love that rhythmic "thumping" on 'WIVES AND LOVERS', which stays with me for hours!) This is wonderful stuff, and the sparingly used Claus Ogerman strings do not detract from the mood, but highlight it. As if all that wasn't enough, TEQUILA sports one of the coolest Jazz album covers ever conceived (right up there with Metheny's, AMERICAN GARAGE.)

WES MONTGOMERY was one of the most influential guitarists in the world of Jazz. By all accounts, he was a very classy and humble man. He certainly had good taste and knew good music. His musicianship elevated everything he played; transforming even minor Pop hits into compelling masterpieces. So smooth he was, but never sleepy! And this set is no exception. So what if this isn't Wes Montgomery poured straight from the bottle? Some folks like to add orange juice to their liquor and call it a Tequila Sunrise. Others prefer a mixture of lime juice and salt. They call that a Margarita. On TEQUILA, Wes didn't pour his guitar straight from the bottle, but stirred in some congas and some strings. It doesn't matter because, in short : if it says "WES MONTGOMERY" on the label, you can be sure that it's a damn fine drink. Uhm...no...that's not right. I mean, if it says "Wes Montgomery" on the COVER, you can be sure that it's damn fine music. Yeah, that's it...damn fine MUSIC!
By Stephen T. McCARTHY.
**
Wes Montgomery- Guitar
Bernard Eichenm, Arnold Eidus, Paul Gershman, Emanuel Green, Julius Held, Harry Lookofsky, Joe Malin, Gene Orloff- Violins
Abe Kessler, Charles McCracken, George Ricci, Harvey Shapiro- Cellos
George Devens- Vibraphone
Ron Carter- Bass
Grady Tate- Drums
Ray Barretto- Congas
**
01. Tequila 3:23
02. Little Child (Daddy Dear) 2:30
03. What The World Needs Now Is Love 5:00 
04. The Big Hurt 4:34
05. Bumpin' On Sunset 4:52
06. Insensatez (How Insensitive) 3:47
07. The Thumb 4:51
08. Midnight Mood 5:36
09. Wives And Lovers 3:00
10. Tequila 2:41
11. The Big Hurt 3:30
12. Bumpin' On Sunset 3:18
**
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Bernard ALLISON - The River Is Rising 2008

Bernard ALLISON - The River Is Rising 2008
Label: Music Avenue

Blues

The son of the late great Blues guitarist, Luther Allison, Bernard has spent years honing his skills to become a great guitarist in his own right, as well as a mature vocalist and gifted songwriter. His scorching guitar licks, dazzling slides, and thick-toned solos, currently make him one of the most tasteful young guitar wizards of the genre.
From Music Avenue.
**
Bernard Allison is the guitar-playing, singing and songwriting son of the late, legendary blues guitarist Luther Allison. True to form for this chip off the old block, the young Allison injects every bit as much energy into his live shows as his late father did.
Bernard counts among his influences icons like Albert King, Muddy Waters and Freddie King, and later, Stevie Ray Vaughan and Johnny Winter.
Allison began accompanying his famous father to blues festivals in the early 1970s. There, he was introduced to a who's-who of Chicago blues stars: Muddy Waters, Hound Dog Taylor and Albert King, among others. When he was seven or eight, he began having aspirations of becoming a guitar slinger like his father. Allison's father was more than just a casual record collector, and so Bernard benefited from his father and brothers' collections of classic blues and gospel.
After graduating from high school, Allison began playing with Koko Taylor in her touring band. He stayed with Taylor's band until 1985, when he left to hustle up his own gigs as Bernard Allison and Back Talk. Allison spent a lot of time in Canada with his first band, and later rejoined Taylor and her Blues Machine for another two years in the late 1980s.
After joining his father in Europe for a live recording, Bernard was asked to join Luther's touring band and become his European bandleader. Allison's father helped his son along with the finer points of showmanship for several years until he was good enough to lead his own trio or quartet. At Christmas, 1989, while both were living together in Paris, the elder Allison arranged to give his son the most precious gift for budding musicians: studio time to record his first album. Allison's debut, Next Generation, was recorded for Mondo Records using musicians from his dad's band. His other foreign-label releases include Hang On, No Mercy, and Funkifino.
In December 1996, Allison was contacted by Cannonball Records founder Ron Levy. Allison was home in Chicago visiting family at Christmas, and hadn't brought any of his guitars or other equipment with him. Levy wanted something based in traditional electric blues, with a few bones for newer fans of the idiom who have jumped on the blues bandwagon since 1990. Allison released his stunning U.S. debut, Keepin' the Blues Alive in early 1997, receiving a great deal of critical acclaim. On his successful tour of clubs around the U.S. in the latter half of 1997, Allison was joined by drummer Ray "Killer" Allison (no relation) and Buddy Guy bassist Greg Rzab, among others. Times Are Changing followed a year later. In mid-2000, Across the Water was released. Based in Paris full-time, he has the comfort and security that the multitude of blues clubs and festivals around Europe can provide.
By Richard Skelly, All Music Guide.
**
01. The River Is Rising 3:44
02. I Just Came Back To Say Goodbye 4:39
03. Coming Back (Across The Water) 10.64
04. Feels Kinda Funny 3:19
05. There's No Higher Love 4:07
06. I've Been Down 6:39
07. Slip Slidin' 1:44
08. Down South 4:13
09. I Think I Love You Too Much 3:56
10. Mean Town Blues 3:08
11. Speed Slide 3:09
12. Snake Bit Again 3:42
13. Fistful Of Dirt 3:45
14. Help Me Through The Day 4:49
**
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Thelonious MONK & Sonny Rollins 1953 (REPOST)

Thelonious MONK & Sonny Rollins  1953
Label: Prestige/Ojc
Audio CD: July 1, 1991
Original Release Date: November 13, 1953

Jazz

Thelonious Monk created some of his most innovative music during the period in the early '50s when he recorded for Prestige, and Sonny Rollins was in the forefront of the few musicians who could respond to Monk's challenging compositions and sharp-angled, dissonant comping. It's apparent in the way the two transform the standards "The Way You Look Tonight" and "I Want to Be Happy," Rollins soaring through the former and bringing wry wit to the latter. Monk's "Friday the 13th" is heard in an extended performance with Rollins and French-horn player Julius Watkins, challenging, probing music.
By Stuart Broomer.
**
Don't let the fact that this compact disc is only 34 minutes long dissuade you from buying it. This is an addictive 34 minutes, a listening experience you will want to repeat again and again. Overall, it's as good as the more famous disc in this reissue series, "Thelonious Monk with John Coltrane" and that is high praise, indeed. In fact, the two discs share one Monk composition, "Nutty." It's a great tune. On this disc, Rollins is not part of that performance. The song is performed by Monk, Percy Heath on bass, and Art Blakey on drums. On the Coltrane/Monk recording, the song is about 75 seconds longer and features 'Trane on saxophone. Comparing the two versions is interesting and rewarding. This release offers tracks laid down in various studios in 1953 and '54, but gosh, they sound as if they were created earlier today. What Rollins and Monk do to the standards "The Way You Look Tonight" and "I Want to Be Happy" ought to be done to every American pop song in the catalogues of all the great writers. Once you start liking this kind of jazz, whether you are 17 or 57 like I am, you can't stop. It's too good for background, too swinging to read a book by...it needs to be savored for the artistry of its creators with full listener attention. You'll find it's a half-hour you won't regret. By William E. Adams.
** 
Rollins had (and still has) monster chops. He completely devours 'The Way You Look Tonight' and 'I Want to be Happy'. The other tracks are excellent, too, but I absolutely love 'Friday the 13th'. It is the one track you could play over and over again without ever growing bored.

I don't have a large Monk collection and I have not heard this song on other discs. Given Monk's habit of recycling material (a habit of which I approve!), I'm sure it is on several, but I can't imagine a better version exists than this one. Who but Monk would think of the French horn as a jazz instrument? Julius Watkins' contributions here are no mere novelty, either. They are integral to the entire piece.

This session was recorded on Friday, November 13, 1953. On the way to the studio, Monk and Rollin's taxi was involved in a fender bender, making them late for the session. A few other problems threatened to make the session a disaster (read the liner notes). The tension may have actually helped these guys in their playing - not that their talent wasn't enough, but they seem to really be releasing some emotions here.

This excellent disc will never disappoint and will continue to provide many, many joyous discoveries even after 1,000 playings. Monk's music is so wonderful, please do yourself a favor and enjoy this offering. Highly recommended!
By Timothy K. Smith.
**
01.The Way You Look Tonight
02.I Want to Be Happy
03.Work
04.Nutty
05.Friday the 13th
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James COTTON & BILLY Branch & CHARLIE Musselwhite & Sugar Ray NORCIA - Superharps 1999

James COTTON & BILLY Branch & CHARLIE Musselwhite & Sugar Ray NORCIA - Superharps 1999

Blues

Superharps is almost an understatement when you’re talking about James Cotton, Billy Branch, Charlie Musselwhite, and Sugar Ray Norcia,. The presence of such revered masters on this 11-track recording provides a world of insight into what blues harp has been about since the 1950s.

One of the last surviving links to the glory days of Chicago blues, harp legend James Cotton still commands a huge following because of his exuberant performances and exciting collaborations. From his childhood apprenticeship with harp ace Sonny Boy Williamson to the freewheeling gigs he played with Howlin’ Wolf, Cotton’s fame as a showman and player has never stopped growing. In 1955, Muddy Waters invited him to join his band, and he went on to spend twelve years touring and recording with the man who would become his mentor. Cotton has also worked with rockers Steve Miller, Johnny Winter, Elvin Bishop, and others.

Chicago blues great Billy Branch’s harmonica playing is known for its added jazz and R&B touches. Born near the Windy City, Branch grew up in Los Angeles, then moved back to go to school. He first made a name for himself in Willie Dixon’s band and later blew harp for the great, unsung Jimmy Walker. Deeply committed to shaping the future, Branch started a "Blues in the Schools" program for children in Chicago.

A skillful instrumentalist, Charlie Musselwhite made his mark leading bands in Chicago and San Francisco. He first learned the blues playing behind the likes of Robert Nighthawk and Homesick James. His debut LP, Stand Back! Here Comes Charlie Musselwhite's Southside Band, remains a standard on underground radio, while his critically acclaimed Continental Drifter and a busy touring schedule promise to further broaden his influence and appeal.

Fresh from a five-year stint as lead singer and harpist for Roomful of Blues, Sugar Ray Norcia is as respected for his vocal proficiency as he is for his harmonica mastery. He was also frontman for the venerable East Coast-based Sugar Ray & the Bluetones (which featured Kid Bangham, Ronnie Earl, Anthony Geraci, and Mudcat Ward).

Superharps separates itself from the usual pack of blues releases by its bold playing and high quality production. Listen to the powerful “I Put My Baby Out” or “Blues, Why Do You Worry Me?” or Cotton’s soulful reading of “The Hucklebuck.” These are the sounds of master players in top form.
**
Four great blues harmonica players (James Cotton, Billy Branch, Charlie Musselwhite, and Sugar Ray Norcia) are featured in various combinations on this spirited disc, backed by a four-piece rhythm section (with guitarist Kid Bangham and pianist Anthony Geraci). Cotton and Norcia have solo pieces, seven numbers feature two harmonicas, and the lengthy low-down blues "Harp to Harp" has all four of the harmonica players taking turns soloing. Much of the material is jazz-oriented, including "The Hucklebuck," "TD's Boogie Woogie," and "Route 66," and the majority of the selections are instrumentals. Each of the harmonica players sounds inspired and the results are consistently exciting and swinging.
By Scott Yanow, All Music Guide.
**
James Cotton, Charlie Musselwhite, Billy Branch, Sugar Ray Norcia- (Vocals, Harmonica)
Kid Bangham- (Acoustic & Electric Guitars)
Anthony Geraci, David Maxwell- (Piano)
Michael “Mudcat” Ward- (D. Bass)
Per Hanson- (Drums)
**
01. I Put My Baby Out 4:34
02. The Hucklebuck 5:30
03. Blues, Why Do You Worry Me? 8:29
04. Life Will Be Better 5:18
05. Mean Little Mama 3:18
06. T.D.'s Boogie Woogie 4:35
07. If I Should Have Bad Luck 5:26
08. I'm Gonna Steal Your Baby 4:23
09. Route 66 5:14
10. You're So Fine 5:08
11. Harp to Harp 11:37
**
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Red GARLAND - All Morning Long 1957 (REPOST)

Red GARLAND - All Morning Long 1957 (REPOST)
Label: Ojc
Audio CD: (July 1, 1991)

Jazz  

I can't add much to the stylistic notes from the always- knowledgeable Mr. Chell in his review. I will say, however, that this is an extremely good introductory album for anyone interested in great, not-watered-down (read, "contemporary" or "mellow") jazz. Coltrane and Garland mesh extremely well together, and even Donald Byrd, not my favorite trumpet player for the reasons stated by Mr. Chell, sounds strong, confident, and in synch with the other musicians. All three songs are masterpieces highlighted by immensely satisfying solos (what else would you expect from musicians of this caliber), especially the title cut and the slightly boppish take on "They Can't Take That Away From Me."

This was one of the first jazz albums I owned; I purchased a used vinyl with a notation on the cover that read something like "scratchy but excellent!" I listened to it many times, and the supremacy of the musicians rose like cream through the worn record. Fortunately, I found it again at Amazon.com in CD form, and am enjoying it just as much as when the jazz genre was so new to me. Yes, it's a personal favorite with some history behind it, but its excellence may make it one of your favorites as well.

With George Joyner on bass and Arthur Taylor on drums(who are also featured on "The Best of the Red Garland Quintets," another CD worth checking out.) Engineered by the great Rudy Van Gelder, this 1957 studio date was remastered for its 2001 re-release.
By  M. Allen Greenbaum.
**
How easy it is to dismiss, ignore, take for granted the brilliance of Red Garland. On the other hand, maybe Coltrane deserves the credit for bringing out the best in these "merely" frontline musicians. "All Mornin' Long" is a Bb blues running over 20 minutes. Coltrane has the first solo--probing, passionate, daring. Time for the ensuing players to run for cover or stand up like real men. Donald Byrd, always a tasteful and melodic if "safe" player, practically goes for broke for a change. He employs some half-valve effects (rare for Byrd) and aims for some upper-register notes that aren't there (no matter--it's one of the few recorded moments when Byrd really reaches). Then it's Red's turn.

Red not only holds his own but makes you forget about what's preceded--not through blazing technique or adventurous innovation but ceaseless invention and an incorporation of every possible style. He alternates "trite" rhythm and blues riffs with breathtakingly lithe, Powell-like single-note lines; he moves to his "stretched" block chord style for two, not just one, extended stretches; he makes the blocked-chord style work at a tempo that would discourage its use by any other pianist. His solo, however harmonically and melodically "conservative," is a tour de force.

Dozens of pianists have borrowed from the Garland vocabulary--Gene Harris, Wynton Kelly, Monty Alexander, Ahmad Jamal. This recording is just another reminder that there was only one pianist who mastered that language.
By  Samuel Chell.
**
On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. This CD reissue (whose companion is Soul Junction) has a 20-minute version of "All Mornin' Long," along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tadd Dameron's "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. Byrd was on his way to getting his sound together, while Trane, very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. An excellent and often quite colorful jam session-flavored hard bop set.
**
Red Garland- Piano
John Coltrane- Saxophone
Donald Byrd- Trumpet
Art Taylor- Drums
George Joyner- Bass
**
01. All Mornin' Long  20.18
02. They Can't Take That Away From Me  10.25
03. Our Delight  6.18
**
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Willie DIXON - Poet of the Blues 1998 (REPOST)

Willie DIXON - Poet of the Blues 1998
Label: Sony

Blues 

This CD is a compilation of Willie Dixon songs. It is not coherent, but it has a certain comprehensiveness. Containing seven of the nine songs originally issued as "I Am the Blues" in 1970 it more than representative of what Willie Dixon is about. The 1970 recording featured an all-star band of Chicago bluesmen-Shaky Jake on harmonica, Sunnyland Slim on piano, Johhny Shines playing guitar and Clifton James on drums. Dixon played base, of course, on a recording designed to showcase him playing and singing his songs. The first seven songs on this CD not only represent the best of what we call Chicago blues-they are also songs that define the genre in modern times. These are among the songs that Muddy Waters, Howling Wolf, Little Walter, Bo Diddley, Otis Rush, and (dare I say) Mick Jagger and a bunch of Brits made famous. The songs that in turn made those performers famous. Here Dixon plays with his peers to define his own songs. The balance of the CD (and it is a sort of Frankenstein monster collage) comprises tracks by the Big Three Trio. These were recorded between 1947 and 1951, and they are evidence of Dixon's lyrical ability. (Hence, the title "Poet of the Blues") These trio tracks are clearly jazz-Dixon on string base with Leonard Caston on piano, Ollie Crawford on guitar, and Hillard Brown playing drums. The nine tracks on this compilation are among the 21 tracks on Columbia Blues/Roots CD called "Willie Dixon: The Big Three." Regardless of the packaging, this is a fine recording. The 1970 renditions prove Dixon's inventiveness and genius in the context of the people that really matter. Buy this collection. Or find the two CDs that are its source. If you really love Willie Dixon, look for the Chess collections, too.
By  George H. Soule.
**
One of blues music's greatest composers, Willie Dixon was also a strong performer. This Columbia Legacy reissue is a profile of the artist in his post-Chess Records years and is chock full of classics, many of which have been covered by rock bands as well as blues musicians: "Back Door Man," "I Can't Quit You Baby," "Spoonful," "I Ain't Superstitious," "I'm Your Hoochie Coochie Man" ... the list goes on. For all of his achievements as a composer and performer, relatively little of Dixon's recorded work is available, particularly from his later years. Poet of the Blues is an excellent introduction as well as a chance to hear many of these classic songs in their original incarnations.
By Genevieve Williams. AMG.
**
Columbia/Legacy's Poet of the Blues is a fine 16-track collection that spotlights Willie Dixon's own recordings of such blues standards as "Back Door Man," "I Can't Quit You Babe," "Spoonful," "The Little Red Rooster" and "I Ain't Sperstitious," plus some lesser-known originals like "If the Sea Was Whiskey," "O.C. Bounce," "Money Tree Blues," "Juice-Head Bartender" and "Signifying Monkey." Many of these songs were recorded with his early trio, the Big Three, and while they're of historical interest, they're not quite as good as his Chess recordings. Nevertheless, this is a good, concise sampler of his Columbia recordings for anyone curious about this period of Dixon's career.
By Thom Owens, All Music Guide.
**
Johnny Shines- Guitar
Sunnyland Slim- Piano
Ollie Crawford- Guitar
Hillard Brown- Drums
Charles Sanders- Drums
The Big Three Trio- Vocals
Clifton James- Drums
Willie Dixon- Arranger, Composer, Vocals, Bass (Upright), String Bass
**
01. Back Door Man 6:08
02. I Can't Quit You Baby 6:41
03. The Seventh Son 4:16
04. Spoonful 4:56
05. I Ain't Superstitious 4:04
06. I'm Your Hoochie Coochie Man 4:49
07. Little Red Rooster 3:37
08. Big 3 Stomp 3:05
09. I Ain't Gonna Be Your Monkey Man 2:58
10. It's All Over Now 2:38
11. If The Sea Was Whiskey 3:04
12. O.C. Bounce 2:18
13. Money Tree Blues 2:44
14. Cool Kind Woman Blues 2:20
15. Juice-Head Bartender 2:46
16. Signifying Monkey 2:54
**
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W.C. CLARK - Texas Soul 1995 (REPOST)

W.C. CLARK - Texas Soul 1995
(With Double Trouble)
Label: Blacktop

Blues

1997 W.C. Handy Award Winner! "Best Blues Soul Album of The Year"

Although W.C. Clark does perform a few blues, this CD is essentially an R&B/soul session which puts the emphasis on Clark's calm but emotional vocals (some of the lyrics are somewhat philosophical) and stinging guitar. The five-piece Kamikaze Horns are restricted to ensemble fills and riffs. Even if a certain predictability pervades the set, Clark (who in spots reminds one slightly of both Ray Charles and B.B. King) is a skilled perfomer in the idiom, making this a date recommended to fans of the Stax sound of the 1960s.
By Scott Yanow. AMG.
**
W.C. Clark- Guitar, vocals
Derek O'Brien- Guitar  and Guitar solos
Riley Osborne- Piano, Organ
Nick Connolly- Piano, Organ
Gerald Spencer- Bass
Larry Fulcher- Bass
Tommy Shannon- Bass
Chris Layton- Drums
C.C. Pinkston- Drums
The Kamikaze Horns:
Mark "Kaz" Kazanoff- Soprano, Tenor and Baritone Saxophones
Ward Smith- Tenor and Baritone Saxophones
Steve Howard- Trumpet
Randy Zimmerman- Trombone
John Touchy- Trombone
**
1 I Only Have Love for You 3:59
2 Just the One I'm Looking For 2:44
3 Reminscing  4:05
4 Why Do Things Happen to Me? 3:26
5 Rough Edges 3:50
6 Leave My Heart Alone 3:55
7 That's Where It's At 4:09
8 Funny How Time Slips Away  5:18
9 You'll Need Another Favor 3:47
10 I Want to Keep You 2:58
11 Ain't No Fun to Me 2:39
12 Baby, What About Me? 3:54
**
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