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2 episodes with Barney Kessel
2 episodes with Barney Kessel
4 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
3 episodes with Barney Kessel
2 episodes with Barney Kessel
5 episodes with Barney Kessel
5 episodes with Barney Kessel
5 episodes with Barney Kessel
4 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
2 episodes with Barney Kessel
Eine populäre TV-Sängerin mit erheblicher Jazz-Vergangenheit plus der legendäre Gitarrist Barney Kessel und sein Trio und das alles 1956... Das ließ aufhorchen - nur leider nicht beim Publikum. Ein Fall für den Geheimen Garten des Jazz. Von Götz Alsmann.
Who swings harder: Oscar Peterson with guitar or drums? In this jazz piano trio showdown, Adam and Peter go head-to-head with seven scorching tracks spanning OP's career. Team Guitar brings Barney Kessel, Herb Ellis, and Joe Pass, while Team Drums is anchored by the ever-swinging Ed Thigpen. We break down comping chemistry, shifting textures, virtuosic solos, and how each setup shaped the trio's iconic sound. Which format delivered the best Oscar Peterson performances? Join us for a deep dive into Canada's greatest jazz export.
durée : 00:59:40 - La parole - par : Nathalie Piolé -
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Michael RusseckDarlene Love “Christmas (Baby Please Come Home)" from the 1963 album "A Christmas Gift for You from Philles Records". Released on Philles. Written by Jeff Barry, Ellie Greenwich, and Phil Spector and produced by Phil Spector.Personel:Darlene Love - lead vocalsCher and The Blossoms (Fanita James, Darlene Love, Gracia Nitzsche, Edna Wright, and Carolyn Willis) - backing vocalsThe Wrecking Crew:Jack Nitzche - arrangements, percussionSteve Douglas - saxophoneJay Migliori - saxophoneHal Blaine - drumsLouis Blackburn - hornsLeon Russell - pianoRoy Caton - trumpetSonny Bono, Frank Capp - percussionRay Pohlman - bassIrv Rubins, Barney Kessel, Bill Pittman, Tommy Tedesco, Nino Tempo - guitarJimmy Vidor - stringsLarry Levine - engineerCover:Performed by Neal Marsh and Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Michael RusseckDarlene Love “Christmas (Baby Please Come Home)" from the 1963 album "A Christmas Gift for You from Philles Records". Released on Philles. Written by Jeff Barry, Ellie Greenwich, and Phil Spector and produced by Phil Spector.Personel:Darlene Love - lead vocalsCher and The Blossoms (Fanita James, Darlene Love, Gracia Nitzsche, Edna Wright, and Carolyn Willis) - backing vocalsThe Wrecking Crew:Jack Nitzche - arrangements, percussionSteve Douglas - saxophoneJay Migliori - saxophoneHal Blaine - drumsLouis Blackburn - hornsLeon Russell - pianoRoy Caton - trumpet Sonny Bono, Frank Capp - percussionRay Pohlman - bassIrv Rubins, Barney Kessel, Bill Pittman, Tommy Tedesco, Nino Tempo - guitarJimmy Vidor - stringsLarry Levine - engineer Cover:Performed by Neal Marsh and Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Jingle Bell RockBing Crosby “White Christmas”Santa Claus is Coming to TownChevy ChaseTaylor SwiftJanis JoplinBob Seger and the Silver Bullet Band “We've Got Tonight”Grateful DeadGreyboy AllstarsJohn Cleary and John Scofield “Piety Street”Medeski, Martin, and WoodThe LumineersKings of LeonThe BeatlesThe Fruit BatsThe CureThe Black KeysNeil YoungFor the Kings “Heart of This Man”Beach Boys “God Only Knows”Warren HaynesDave MatthewsDerek TrucksGoose Trey AnastasioMarc BroussardThe Ronettes “I Saw Mommy Kissing Santa Claus”The Crystals “Santa Claus is Coming to Town”National Lampoon's Christmas VacationThe GremlinsDarlene Love “Johnny (Please Come Home)”The Ronettes “Be My Baby”The Righteous Brothers “You've Lost That Lovin' Feelin'”Lindas RonstadtDavid LettermanPaul ShaferRonnie SpectorChuck Berry “Run, Rudolph Run”Bruce SpringsteenRobert Walter “In a Holiday Groove”Karl DensonThe Rolling StonesThe OffspringWillie NelsonPink FloydWizard of OzGeorge Michael “Last Christmas”The Chordettes “Mr Sandman”Little Shop of HorrorsMariah CareyMichael BubleBon JoviU2 “Joshua Tree”Joey RamoneMy Morning JacketThe StrokesJulian Casablancas “Christmas Wish”Taj Mahal
Sintonía: "Love for Sale" - Barney Kessel"There´s Going To The Devil to Pay" - Fats Waller & His Rhythm; "Walkin´ Slow Behind You" (feat. Jimmy Rushing) - Count Basie Orchestra; "Tiger Moan" - The State Street Ramblers; "Don´t Fall Asleep" (feat. Helen Forrest) - Artie Shaw Orchestra; "Tain´d a Fit Night For A Man Or Beast" (feat. Noble Sissle´s Swingsters) - Sidney Bechet; "Skeleton In The Cupboard" - Teddy Foster And His Kings Of Swing; "Dr. Heckle and Mister Jibe" - Benny Goodman with Jack Teagarden; "Who Dat Up Dere" - Woody Herman Orchestra; "Wake Up Sinners" (feat. Jabbo Smith) - Lloyd Smith´s Gut Bucketeers; "Old Man Mose" - Georgia GibbsTodas las músicas (menos la sintonía) extraídas de la recopilación (1x10") "Hells Bells - Swing Candies for Doomsday 1928-49" (Stag-O-Lee, 2018)"16 toneladas (Sixteen Tones)" - Noriel Vilela; "The Carioca" - Fred Astaire; "Brazilian Baion" - Betty Reilly & Les Baxter Orchestra; "Voce e eu" - Milton Banana e o Conjunto de Oscar Castro Neves Todas las músicas (incluída la sintonía) extraídas de la recopilacion (1x10") "Samba do Brazil" (Doghouse & Bone, 2018)Escuchar audio
LOUIS HAYES “DREAMIN' OF CANNONBALL” New York, May 7 & 8, 2001What is this thing called love, The chant, Dat dereJeremy Pelt (tp) Vincent Herring (as) Rick Germanson (p) Vicente Archer (b) Louis Hayes (d) BARNEY KESSEL “EASY LIKE” Los Angeles, November 14, December 19, 1953Tenderly, Bernardo, Vicky's dream, Just Squeeze me, What is there to say ?, Salute to Charlie ChristianBud Shank (as,fl) Arnold Ross (p) Barney Kessel (g) Harry Babasin (b) Shelly Manne (d) EDDIE COSTA “IN THEIR OWN SWEET WAY” New York, July 13, 1957Get out of the road, In your own sweet way (1), Nature boy, Blues plus eightArt Farmer (tp) Phil Woods (as,p-1) Eddie Costa (p,vib-1) Teddy Kotick (b) Paul Motian (d) Continue reading Puro Jazz 26 de septiembre, 2024 at PuroJazz.
LOUIS HAYES “DREAMIN' OF CANNONBALL” New York, May 7 & 8, 2001What is this thing called love, The chant, Dat dereJeremy Pelt (tp) Vincent Herring (as) Rick Germanson (p) Vicente Archer (b) Louis Hayes (d) BARNEY KESSEL “EASY LIKE” Los Angeles, November 14, December 19, 1953Tenderly, Bernardo, Vicky's dream, Just Squeeze me, What is there to say ?, Salute to Charlie ChristianBud Shank (as,fl) Arnold Ross (p) Barney Kessel (g) Harry Babasin (b) Shelly Manne (d) EDDIE COSTA “IN THEIR OWN SWEET WAY” New York, July 13, 1957Get out of the road, In your own sweet way (1), Nature boy, Blues plus eightArt Farmer (tp) Phil Woods (as,p-1) Eddie Costa (p,vib-1) Teddy Kotick (b) Paul Motian (d) Continue reading Puro Jazz 26 de septiembre, 2024 at PuroJazz.
Dedicamos el episodio al guitarrista Barney Kessel como acompañante de grandes cantantes. Escucharemos grabaciones de las decapadas de 1950 y 1960 con las voces de Julie London, Billie Holiday, Ella Fitzgerald y Sylvia Telles. Tracklist: Julie London: - Cry Me a River (Arthur Hamilton). - I'm Glad There Is You (Paul Madeira & Jimmy Dorsey) - Say It Isn't So (Irving Berlin) - 'S Wonderful (George Gershwin) - It Never Entered My Mind (Richard Rodgers) - No Moon At All (Redd Evans & Dave Mann) - Easy Street (Alan Rankin Jones) Billie Holiday - Speak Low (Ogden Nash & Kurt Weill) - One For My Baby (And One More For The Road); (Harold Arlen. Ella Fitzgerald - Let's Do it (Cole Porter) - Solitude (Irving Mills, Eddie De Lange & Duke Ellington), - In a Sentimental Mood (Duke Ellington, Irving Mills & Manny Kurtz) Silvia Telles - Sábado em Copacabana (Dorival Caymmi, Carlos Guinle) - Estrada do sol (Antônio Carlos Jobim, Dolores Duran) - Meu Amanhã (Aloysio de Oliveira, Roberto Menescal) - Manhã de carnaval(Antônio Maria, Luiz Bonfá) Barney Kessel - Moon River Cha Cha Cha (Henry Mancini)
Sintonía: "Welcome Home" - Blood Red Shoes"France Gnarl" - Cuz; "Space Mambo" - The Limboos; "Main Street Breakdown" - Chet Atkins; "Groove" y "Pisces Paces" - Dave Hamilton; "Safari Strut" - The Whitefield Brothers; "Lullaby for Lagos" - Quantic; "Ocupai" - Bixiga 70; "African Mailman" - Rhythmagic Orchestra; "Christian´s Tune?" y "Jeepers Creepers" - Charlie Byrd; "North Of The Border" - Barney Kessel; "Purdy Mouth" - Swamp Cabbage; "Interludio en Sol" - Cuchillo; "Santa Cruz" - David Qualey; "Seattle" - William Ackerman; "Joybelb" - YellowsharksEscuchar audio
Playlist for The Everything Show 7/8/2024Moon Duo / Planet CaravanDan Auerbach / Every Chance I Get (I Want You In The Flesh)Einsturzende Neubauten / Ist IstThe Animals / Hey GypPsychic Graveyard / Your Smile is a HoaxRadiohead / High And DryFrancis / How It's Gonna Be from Now OnLes Cyclades / AlocasiaWilliam DeVaughn / Be Thankful For What You've GotThe Sweet Inspirations / Sweet InspirationOnce Twice / SparksNina Simone / Sinnerman (Sofi Tukker Remix)Beak> / The SealWinnetka Bowling League / This Is LifeCharlie Parker / Funky Blues (feat. Charlie Parker, Johnny Hodges, Benny Carter, Charlie Shavers, Flip Phillips, Ben Webster, Oscar Peterson, Barney Kessel, Ray Brown & J.C. Heard)Robben Ford / White Rock Beer...8 centsDwight Yoakam / What I Don't KnowEels / GOLDYBuddy Holly / It's So EasyLinda Ronstadt / It's So EasyDarden Smith / I Don't Want To Dream AnymoreChris Isaak / Wicked GameFats Waller / I'm Gonna Sit Right Down And Write Myself A LetterThe Viscounts / Harlem Nocturne
TRINI LOPEZ (May 15, 1937 – August 11, 2020) ‘THE LOST INTERVIEWS' WITH RAY SHASHO EPISODE 12 Interviewed November 28th 2014 Trini Lopez is an international music legend best known for recording classic covers and converting them into danceable songs by adding his own special spin and flavor. Lopez not only makes those notable tunes danceable, but he usually outsells all other artists who have also covered those songs including the recordings by the original songwriters. Born in Dallas, Texas, his Father Trinidad Lopez II was a singer, dancer, actor, and musician in Mexico. Trini's parents moved to Dallas when his dad was eighteen seeking a better life. Trini learned to play guitar from his father and played for money on street corners. He eventually began performing in clubs around the affluent parts of Dallas. Lopez even performed at a club owned by the notorious Jack Ruby. A true rock and roll visionary … Lopez uncannily wrote and recorded a song called “The Right to Rock” released on a small label called Volk Records in 1958. After hearing the single, King Records offered Trini a three-year contract. The only chart hit for Lopez on the King Records label was a Skyliners cover called “Since I Don't Have You,” Trini's rendition reached #10 on the Cashbox and Billboard charts. After one of Trini's performances Lopez met with another Texan, rock and roll pioneer Buddy Holly. Holly tried to help Trini by inviting him to meet with his record producer in Clovis, New Mexico. Lopez became great friends with Buddy Holly and The Crickets. Holly was killed in a plane crash along with Richie Valens and The Big Bopper on February 3rd 1959. Several months after the crash, Lopez received a phone call to come out to Hollywood, California to become the new lead singer of The Crickets. The Crickets plans never materialized and Lopez took a job at the Ye Little Club in Beverly Hills. The one-year run led to a historic engagement at the famous PJ'S nightclub. It was at PJ'S where Lopez landed his big break. Frank Sinatra took notice of Trini's one-man act and had Don Costaoffer him an eight-year recording contract on Sinatra's label Reprise Records. Trini's first two albums were recorded live at PJ'S and successfully launched an incredible music and acting career for the impending international superstar. Trini's most recognizable Hit Singles … “If I Had a Hammer” (#3 Billboard U.S. Hit-1963 -Reached #1 in 36 countries), “I'm Coming Home Cindy” (#39 Billboard Hit-1966), “Michael, (#42 Billboard Hit-1964), “Lemon Tree” (#20 Billboard Hit-1965) “Kansas City” (#23 Billboard Hit-1963), “America,” “La Bamba”(1966) “Gonna Get Along With Out Ya' Now” (1967), and The Bramble Bush (1967) to name just a few. (Trini's music was also spotlighted on various soundtracks including... Apollo 13, Born on the Fourth of July and numerous others). Trini Lopez acting career … Marriage on the Rocks (1965), The Dirty Dozen (1967), The Phynx (1970), The Reluctant Heroes (TV Movie -1971), Adam-12 (TV Series 1971-1972), Antonio (1973), The Mystery of the Silent Scream (1977), The Hardy Boys/Nancy Drew Mysteries (TV Series 1977). Trini Lopez incredible string of TV appearances … The Greatest Ever War Films (TV Movie documentary) 2014, Trini Lopez Presents Latin Music Legends (TV Movie) 2009, American High School (Video) 2009, Armed and Deadly: The Making of 'The Dirty Dozen' (Video documentary short) 2006, The Best of Music Flashback Television Shows: Featuring Music Scene and Hullabaloo (Video documentary short) 2001, Refrescante 95 (TV Series) 1995, Prima Donnas 1995, Querida Concha (TV Series) 1993, ,Musikladen (TV Series) 1981, A Gift of Music (TV Movie) 1981, Sha Na Na (TV Series) 1978, 1971-1976 The Mike Douglas Show (TV Series), 1976 Celebration: The American Spirit (TV Movie), 1975 Rock on with 45 (TV Series), 1970-1974 The Merv Griffin Show (TV Series), Caesar's Palace Week from Las Vegas (1974), 1972-1974 Stand Up and Cheer (TV Series) 1965-1973 The Tonight Show Starring Johnny Carson (TV Series), 1971-1972 The David Frost Show (TV Series),1970 The Dick Cavett Show (TV Series), 1970 Playboy After Dark (TV Series), 1968-1970 The Carol Burnett Show (TV Series),1967-1969 The Joey Bishop Show (TV Series),1968 The Song Is You (TV Movie), 1967 Operation Dirty Dozen (Short documentary),1967 Spotlight (TV Series),1967 The London Palladium Show (TV Series),1967 The Dean Martin Show (TV Series),1966-1967 The Andy Williams Show (TV Series),1967 Gypsy (TV Series),1966The Jack Benny Hour (TV Movie),1966 Hippodrome (TV Series) Host 1966 Danger Grows Wild, 1966 The Sammy Davis, Jr. Show (TV Series),1965-1966 Hullabaloo (TV Series) (Host), 1965 Marriage on the Rocks, 1965 What's My Line? (TV Series) - Mystery Guest, 1964-1965 The Ed Sullivan Show (TV Series), 1964-1965 The Hollywood Palace (TV Series), 1964 The Bob Hope Show (TV Series),1964 The Bob Hope Thanksgiving Special (TV Special), 1963 Celebrity Party (TV Movie) The Gibson guitar company asked Trini Lopez to design a guitar for them in 1964. The Trini Lopez Standard, a rock and roll model based on the Gibson ES-335 semi-hollow body, and the Lopez Deluxe, a variation of a Gibson jazz guitar designed by Barney Kessel. Both were in production from 1964 until 1971 and are highly sought out collector items. Some owners of the guitar include Dave Grohl of Foo Fighters and Noel Gallagher of Oasis. Trini's last few albums … (2008) ‘Ramblin' Man' and (2011) ‘Into the Future' have been critically acclaimed. ‘Into the Future' was Trini's 65th celebrated album of his illustrious musical career. Here's my latest interview with the legendary singer, musician, songwriter, actor, and one of the most exciting and recognized entertainers worldwide …TRINI LOPEZ Support us on PayPal!
One of the venerable companies that made guitars in Chicago at the middle of the last century was Kay. Their instruments provided tremendous value at an affordable price. One such instrument was the Barney Kessel Pro. These were recently reissued, and we found our example to be a whole hell of a lot of fun to play. Enjoy! Like the show? Follow us at these fine establishments: Patreon || https://www.patreon.com/thehighgain Instagram || @thehighgain Web || https://www.thehighgain.com
Playlist Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1. Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2. The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3. Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4. Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5. Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6. J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7. Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8. Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9. Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin; Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17. Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21. Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23. Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24. Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums, Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums, Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06 Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.
THE VINCE GUARALDI “JAZZ IMPRESSIONS OF BLACK ORPHEUS” San Francisco, CA, November 1961 & February 1962Samba de Orfeu, Manha de carnaval, Since I fell for youVince Guaraldi (p) Monty Budwig (b) Colin Bailey (d) BARNEY KESSEL “LET'S COOK !” Los Angeles, November 11, 1957Time remembered, Just in timeVictor Feldman (vib) Hampton Hawes (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) Los Angeles, August 6, 1957 Tiger ragFrank Rosolino (tb) Ben Webster (ts) Jimmy Rowles (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) CURTIS COUNCE “LANDSLIDE” Los Angeles, October 8, 1956Landslide, Time after time, MiaJack Sheldon (tp) Harold Land (ts) Carl Perkins (p) Curtis Counce (b) Frank Butler (d) Continue reading Puro Jazz 06 febrero 2024 at PuroJazz.
THE VINCE GUARALDI “JAZZ IMPRESSIONS OF BLACK ORPHEUS” San Francisco, CA, November 1961 & February 1962Samba de Orfeu, Manha de carnaval, Since I fell for youVince Guaraldi (p) Monty Budwig (b) Colin Bailey (d) BARNEY KESSEL “LET'S COOK !” Los Angeles, November 11, 1957Time remembered, Just in timeVictor Feldman (vib) Hampton Hawes (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) Los Angeles, August 6, 1957 Tiger ragFrank Rosolino (tb) Ben Webster (ts) Jimmy Rowles (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) CURTIS COUNCE “LANDSLIDE” Los Angeles, October 8, 1956Landslide, Time after time, MiaJack Sheldon (tp) Harold Land (ts) Carl Perkins (p) Curtis Counce (b) Frank Butler (d) Continue reading Puro Jazz 06 febrero 2024 at PuroJazz.
Bruce Forman and Pat Bergeson are working on a very special recording and tour to celebrate Barney Kessel and Chet Atkins 100th birthdays and are asking for our help in making this wonderful project see the light of day.In this Jazz Guitar Life podcast, both Bruce and Pat share their respective tales of Barney and Chet, the relationship each has with their respective iconic instruments and they also share with us the "WHY" in relation to this special project and how we - the Jazz Guitar Community - can be of help in getting this project off the ground and into our homes. Slight disclaimer: I wanted to get this podcast "on the air" quickly before the kickstarter campaign ends on February 15, 2024 so I did practically no editing at all. There will be a bunch of "Uhmmms" and pregnant pauses but honestly, that does not detract from the informative and entertaining chat we all had. Think of it as being the proverbial "fly on the wall" :) And now ladies and gentlemen, Bruce Forman and Pat Bergeson... And for more Jazz Guitar related content including interviews, reviews and more, please visit Jazz Guitar Life at www.thejazzguitarlife.com. As always, I'd love to hear or read your feedback so don't be shy! Enjoy :)
Chet Atkins and Barney Kessel are still inspiring us 100 years after their births. Chet Atkins's protege Pat Bergeson and Barney Kissel's protege Bruce Forman pay tribute in an unbelievable, unprecedented fashion. Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.
Tonight's show: Louis Armstrong, Billie Holiday, Duke Ellington & His Orchestra, Coleman Hawkins and His Orchestra, Barney Kessel, Annie Ross & Zoot Sims (Russ Freeman piano), Lee Morgan & Clifford Jordan, Clifford Jordan, Herb Ellis & Stuff Smith, Ella Fitzgerald & The Marty Paich Orchestra, Dorothy Donegan, and Deodato.
Tonight's show: Louis Armstrong, Billie Holiday, Duke Ellington & His Orchestra, Coleman Hawkins and His Orchestra, Barney Kessel, Annie Ross & Zoot Sims (Russ Freeman piano), Lee Morgan & Clifford Jordan, Clifford Jordan, Herb Ellis & Stuff Smith, Ella Fitzgerald & The Marty Paich Orchestra, Dorothy Donegan, and Deodato.
From the Sourced Network Productions, it's the Hot Jazz Network Podcast with host George Cole. Here's a great story to get you started on the episode with Bruce Forman, recounting his early influences and how he found his life's path at the early age of 17 years old.From Bruce FormanMy first jazz guitar player that I really remember loving was Kenny Burrell. Just the bluesy-ness and the elegance and the eloquence of his playing, it was just such a beautiful counterpoint musically, sound wise and feel wise to everything, even though I was much more interested in playing a lot more than he liked to play, a la Charlie Parker. That was my first one, and then Wes just blew my mind, and then Barney Kessel just creamed me, and then, of course, 1972 or 3 was the year Virtuoso Joe Pass came out. And that changed the world for us guitar players. That just changed the world. By then, I guess I was pretty well printed. I was probably about 17 at that time. My first Monterey Jazz Festival I went to in 1973. Joe Pass was there, Roy Eldridge was there, Dizzy Gillespie was there. It was amazing. It was just a mind blowing experience.
“Pour moi, la guitare c'est un peu comme une machine à écrire". Barney Kessel aurait pu être l'un des géants de la littérature américaine ! Mais il était guitariste : virtuose, swinguant, classieux, caméléon ! Né il y a cent ans, il partagea sa vie entre le jazz et les studios d'Hollywood, ses disques et ceux des autres, où à chaque fois, sa guitare donnait au décor des couleurs mémorables.
“Pour énormément de gens le nom de Barney Kessel veut dire guitare”. Pour une fois, la publicité ne ment pas ! En 1974, arpès deux disques en duo avec Stéphane Grappelli, Barney retrouve le pianiste Oscar Peterson : une manière de boucler la boucle et de se faire définitivement une place auprès des légendes du jazz classique.
Dans les années 60 Barney Kessel est devenu une sorte d'agent double, jazzman à la scène et forçat de la pop dans les studios d'Hollywood. Saviez-vous que l'intro de Wouldn't it be Nice des Beach Boys, c'était lui ? Mais Barney c'est aussi une série d'albums 100% jazz qui rentrera dans les annales, les Poll Winners.
Si l'on devait choisir un disque pour résumer la carrière de Barney comme accompagnateur ce serait Julie Is Her Name, premier album et classique instantané de Julie London. Un succès phénoménal qui fait décoller la carrière de la chanteuse et propulse Kessel comme l'accompagnateur le plus subtil qui soit. L'introduction qu'il joue sur River en particulier, va faire date !
1956 : Responsable du département artiste et répertoire du label Verve à Los Angeles, Barney a déjà plusieurs trophées dans son armoire et un CV long comme le bras. Première ligne et pas des moindres : Charlie Parker ! C'est alors qu'il rencontre l'un de ses admirateurs, le futur gourou de la production pop Phil Spector ! “Kessel, dit ce dernier, c'est le plus grand guitariste de l'univers” !
Fleetwood Mac [01:08] "I Don't Want to Know" Rumours Warner Bros. Records BSK 3010 1977 Funny how the classic rock radio format ruined so much music for me through it's incessant repetition of what it deemed classic, and yet I still thoroughly enjoy Rumours. A fun little number originally from the Buckingham Nicks days. Deerhoof [04:22] "Twin Killers" The Runners Four Children of the Hoof #1 2006 Maybe it's my Gemini nature (certainly not my killer nature) that draws me to this song. Arlo Guthrie [06:41] "Coming in to Los Angeles" Running Down the Road Reprise Records RS 6346 1969 Some solid country rock on this sophomore album from Woody's son. Support musicians include Clarence White, Ry Cooder, Gene Parsons, James Burton, Chris Ethridge and Jim Gordon. Ah the joys of travelling while holding. Neil Young & Crazy Horse [10:48] "Pocahontas" Rust Never Sleeps Reprise Records HS 2295 1979 Neil, I can probably tell you how she felt. The Rutles [14:10] "Cheese and Onions" The Rutles Warner Bros. Records HS 3151 1978 Yes indeed, the Prefab Four: Ron, Dirk, Stig, and Barry (https://youtu.be/sEwySvgfwLE). While my favorite Rutles song is "I Must Be in Love (https://youtu.be/54KBPA20b9Q)", "Cheese and Onions runs a close second, thank in no small part to the Galaxie 500 cover (https://youtu.be/pAzdSeAwKpg) of that song. Boston Pops/Arthur Fiedler w. Hugh Downs, Narrator [16:51] "Britten: The Young Person's Guide to the Orchestra, Op. 34 (Theme)" Carnival Of The Animals / The Young Person's Guide To The Orchestra, Op. 34 RCA Victor Red Seal LSC-2596 1964 Benjamin Britten's helpful introduction to the orchestra, interestingly used for an documentary film: Intstruments of the Orchestra (https://youtu.be/vkwgihr1hMM) from 1946. The Philadelphia Orchestra [21:26] "Saint-Saëns: Symphony No. 3 In C Minor, Op. 78 ("Organ Symphony") - Allegro Moderato; Presto; Maestoso" Saint-Saëns: Symphony No. 3 In C Minor, Op. 78 Columbia Masterworks MS 6469 1963 Hopefully you used your recently refreshed knowledge to listen to this piece, with the addition of ORGAN! Lou Reed [36:36] "Sally Can't Dance" Sally Can't Dance RCA CPL1-0611 1974 Another vivid Manhattan story from Lou's best chart performing album. Neko Case with the Pine Valley Cosmonauts [40:43] "Right or Wrong" Salute the Majesty of Bob Wills - The King of the Western Bloodshot Records BS 029 1998 A fine assortment of late-90s Bloodshot Records luminaries headed by Jon Langford give Neko Case a hand on this jazz standard that Bob Wills turned into a Western Swing classic. The Clash [43:57] "The Magnificent Seven" Sandinista! Epic FSLN 1 1980 Track one, side one from this 3 record release from The Clash. It features a pretty dope bass groove performed by the Blockheads' Norman Watt-Roy. Sarah Vaughan [49:29] "Just Squeeze Me" Sarah + 2 Roulette SR 52118 1965 The plus two being Joe Comfort on bass and Barney Kessel on guitar. A fine rendition of this Ellington standard. Music behind the DJ: "Love Grows Where My Rosemary Goes" by Terry Baxter and his Orchestra
Aquesta setmana dediquem el programa a les cordes de la guitarra, el oud o la kora. Comencem amb el nou disc del guitarrista grec Dimitris Mystakidis, seguim amb la també novetat de Driss El Maloumi al oud, descobrim la guitarra flamenca del Puchero, recomanem concerts de Chicuelo i recordem a Barney Kessel.
More musicians born in 1923. Performers include: Bert Kaempfert, Jim Reeves, Dexter Gordan, Slim Whitman, Victoria de los Angeles, Barney Kessel, Fats Narvarro and Eddie Kendrick. With a special shout out to Glynis Johns.
durée : 00:54:50 - Centenaires 2023 (5/5) : Barney Kessel, Sam Rivers - par : Alex Dutilh - Quand on observe la liste des jazzmen dont on pourra célébrer le centenaire de la naissance en 2023, on tombe sur un florilège de ceux qui ont contribué à basculer le jazz dans la modernité !
durée : 00:54:50 - Centenaires 2023 (5/5) : Barney Kessel, Sam Rivers - par : Alex Dutilh - Quand on observe la liste des jazzmen dont on pourra célébrer le centenaire de la naissance en 2023, on tombe sur un florilège de ceux qui ont contribué à basculer le jazz dans la modernité !
THE VINCE GUARALDI “JAZZ IMPRESSIONS OF BLACK ORPHEUS” – San Francisco, CA, November 1961 & February 1962 Samba de Orfeu, Manha de carnaval, Since I fell for you Vince Guaraldi (p) Monty Budwig (b) Colin Bailey (d) BARNEY KESSEL “LET’S COOK !” – Los Angeles, November 11, 1957 Time […]
durée : 00:59:22 - Trop parler - par : Nathalie Piolé -
obituary courtesy of the International Society of Bassists: The ISB is sad to learn of the passing yesterday of bassist, composer, educator and recording artist Kelly Sill. He was 70 years old. Kelly was a beloved mainstay of the Chicago jazz scene for more than 35 years. Born in Fargo, North Dakota, he grew up in the Chicago area. After receiving his bachelor's degree from the University of Illinois at Urbana-Champaign, he returned to Chicago to perform and record with jazz artists such as Art Blakey, Joe Henderson, Art Farmer, Clark Terry, Cedar Walton, Herb Ellis, Woody Shaw, Hank Jones, Freddie Hubbard, Kenny Burrell, Barney Kessel, Chris Potter, Ernie Watts, Bob Mintzer, Mel Torme, Anita O'Day, Jackie McLean, Joey DeFrancesco, Donald Byrd, Eddie Harris, Scott Hamilton, Victor Lewis, Clifford Jordan and Bucky Pizzarelli. He performed at the Chicago Jazz Festival, the Elkhart Jazz Festival, the Red Sea Jazz Festival, Thessaloniki Concert Hall in Greece and Symphony Center in Chicago. Kelly's discography includes more than fifty recordings as a sideman and leader. Kelly served on the faculties of Northeastern Illinois University, Lake Forest College, DePaul University and Northern Illinois University. He also taught at the Interlochen Arts Camp, Jamey Aebersold Summer Jazz Workshop, Janice Borla Vocal Jazz Camp, University of Wisconsin/Stevens Point Jazz Camp, Clark Terry Great Plains Jazz Camp and the University of Illinois (Urbana-Champaign) Summer Music Program. Saxophonist Gregory Dudzienski recalls his friend: "Kelly was one of the warmest, most welcoming, supportive, and funniest people I've ever had the fortune to spend time with. He had that way of interacting with you, that way of giving you his full attention and self that made it feel like you were the most important person in the world to him. That way of interacting carried into his playing as well." Subscribe to the podcast to get these interviews delivered to you automatically! Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists. Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass. Thank you to our sponsors! Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson. Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life! theme music by Eric Hochberg
Recomendados de la semana en iVoox.com Semana del 5 al 11 de julio del 2021
Bienvenidos amantes de la música, Barney Kessel fue un guitarrista de Bop, Cool, West Coast, Pop y Rock. Perteneció a un grupo de músicos de sesión que fueron míticos por su calidad. ("Wrecking Crew" - El equipo de demolición) Gracias a ello fue un guitarrista omnipresente pero anónimo. La experiencia de tocar con Charlie Christian (quien fue su principal influencia) le hizo desarrollar su propio estilo, ya que sólo sabía tocar como su mentor. A partir de ese evento comenzó a trabajar con grandes Big Bands. (Artie Shaw, Benny Goodman, Charlie Barnet) En 1944 apareció en el cortometraje "Jammin' The Blues" protagonizado por Lester Young. En la década de los 50 se unió al trío del pianista Oscar Peterson, en los 70 creó el trío de guitarristas "Great Guitars" junto a Herb Ellis y Charlie Byrd. La selección de hoy es del álbum "To Swing or not to Swing" (1955). Qué lo disfruten! Los temas son: 1. You Came a Long Way from St. Louis (Tema de inicio) 2. Begin The Blues 3. Wall Street 4. Midnight Sun 5. Contemporary Blues 6. 12th Street Rag Recomendamos el cortometraje "Jammin' The Blues" (1944) https://bit.ly/3LrCJU4 *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios adelantados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.
Bienvenidos amantes de la música, Barney Kessel fue un guitarrista de Bop, Cool, West Coast, Pop y Rock. Perteneció a un grupo de músicos de sesión que fueron míticos por su calidad. ("Wrecking Crew" - El equipo de demolición) Gracias a ello fue un guitarrista omnipresente pero anónimo. La experiencia de tocar con Charlie Christian (quien fue su principal influencia) le hizo desarrollar su propio estilo, ya que sólo sabía tocar como su mentor. A partir de ese evento comenzó a trabajar con grandes Big Bands. (Artie Shaw, Benny Goodman, Charlie Barnet) En 1944 apareció en el cortometraje "Jammin' The Blues" protagonizado por Lester Young. En la década de los 50 se unió al trío del pianista Oscar Peterson, en los 70 creó el trío de guitarristas "Great Guitars" junto a Herb Ellis y Charlie Byrd. La selección de hoy es del álbum "To Swing or not to Swing" (1955). Qué lo disfruten! Los temas son: 1. You Came a Long Way from St. Louis (Tema de inicio) 2. Begin The Blues 3. Wall Street 4. Midnight Sun 5. Contemporary Blues 6. 12th Street Rag Recomendamos el cortometraje "Jammin' The Blues" (1944) https://bit.ly/3LrCJU4 *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios adelantados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.
J.J. JOHNSON “J.J. INC.” – New York, August 1, 1960 Mohawk, Minor mist, In walked Horace Freddie Hubbard (tp) J.J. Johnson (tb) Clifford Jordan (ts) Cedar Walton (p) Arthur Harper (b) Albert “Tootie” Heath (d) BARNEY KESSEL “THE POLL-WINNERS” – Los Angeles, March 18 & 19, 1957 Jordu, Mean […]
HAMPTON HAWES “FOUR!” – Los Angeles, January 27, 1958 Yardbird suite, Like someone in love, There will never be another you Hampton Hawes (p) Barney Kessel (g) Red Mitchell (b) Shelly Manne (d) RAN BLAKE / SARA SERPA “AURORA” – Lisboa, Portugal, May 10 & 11, 2012 Saturday, Strange fruit, The band played on, Love […]
Anexos al abecé de la música popular de Brasil en forma de compilaciones. Intervienen: Laura Villa, Sylvia Telles, Lalo Schifrin, Carlos Lyra, Bud Shank, Sérgio Ricardo, Stan Getz, Sergio Mendes, Herbie Mann, Joâo Gilberto, Charlie Byrd & Stan Getz, Barney Kessel, Cannonball Adderley y Tamba. Escuchar audio
First recordings led by the great tenor saxophonist Lucky Thompson n 1945-47. All done on the West Coast and featuring Karl George, J.J. Johnson, Rudy Rutherford, Freddie Green, Bill Doggett, Dodo Marmarosa, Jackie Mills, Benny Carter, Neal Hefti, Barney Kessel and others --- Support this podcast: https://anchor.fm/john-clark49/support
Dodo Marmarosa Trio - "Mellow Mood" Robert Wilkins - "Rolling Stone" [0:02:59] Gus Bodenheim - "An Open Letter to the Ladies" [0:10:57] Barney Kessel's All-Stars - "Slick Chick" [0:13:30] George Formby - "Springtime's Here Again" [0:16:18] Jim & Bob (The Genial Hawaiians) - "The Song of the Range" [0:19:16] Noël Coward - "Any Little Fish" [0:21:50] Riley Puckett - "Tie Me to Your Apron Strings Again" [0:24:15] Blind Willie McTell & Ruby Glaze - "Mama, Let Me Scoop for You" [0:30:55] Josh White - "Pure Religion" [0:33:37] Lee Sims - "Falling In Love with You" [0:36:52] Euneeda Bodenheim - "Delbarton's Poesy Alive™ (celebrating National Poetry Month)" [0:40:34] Frankie Trumbauer & His Orchestra - "Humpty Dumpty" [0:42:33] [0:45:25] Lonnie Johnson - "Winnie the Wailer" [0:48:44] Bob & Ray - "Mary McGoon Explains "Scrabbopoly"" [0:51:40] Earl Hines and His Orchestra - "Blue Drag" [0:55:07] https://www.wfmu.org/playlists/shows/114125
Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love" very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later. "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...
Tríó Barney Kessel leikur Volare (Nel blu, dipinto di blu), Spring Is Here, Surrey With Fringe On Top, Angel Eyes, Custard Puff, Be Deedle Dee Do og When The Red, Red Robin Comes Bob Bob Bobbin'. Tríó Dodo Marmarosa spilar The Moody Blues, The Very Thought Of You, The Song Is You, Just Friends, I Remember You og Yardbird Suite. Kvartett Cliffords Adams leikur lögin Walkin', Renatyah, Darshan's Love, Master Power, Precious Jewel, With His Grace og I Can't Get Started.
The late guitarist Emily Remler is the third Jazz Feature with female instrumentalists. Emily's time here was sadly short-lived as she died at age 32. She was very prominent on the Jazz scene for about 9 years. She was praised by all the still living guitar greats like Barney Kessel, Tal Farlow, Charlie Byrd and especially Herb Ellis who loved her playing so much that he made sure she got a recording contract. Most of her work was documented on Concord Records and tonight we'll delve into those recordings to present a fine picture of Emily, who deserves to be remembered. She was born on Sept. 18,1957 and died on May 4,1990. She deserved a much longer life but we must be grateful for her fine recordings. She is backed by various musicians on this Feature like pianists Hank Jones, James Williams and bassists Don Thompson and Buster Williams and drummers Terry Clarke and Marvin "Smitty"Smith and others. Check out Ms.Remler tonight....you'll love her!
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