09-10-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1959-1965

Brownie McGhee

09-10-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1959-1965 # Brownie McGhee, Curtis Amy & Paul Bryant, Bill Jennings / Jack McDuff, Josh White, Big Joe Williams, Sunnyland Slim, Arthur 'Big Boy' Crudup, Junior Wells, Sonny Boy Williamson II, The Rolling Stones

B L U E S   M U S I C

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1959-1965

Folk-blues singer-guitarist whose long-running partnership with harp-man Sonny Terry was already legendary by 1950s revival time. Brownie McGhee's death in 1996 was an enormous loss in the blues field. Although he had been semi-retired and suffering from stomach cancer, the guitarist was still the leading Piedmont-style bluesman on the planet, venerated worldwide for his prolific activities both on his own and with his longtime partner, blind harpist Sonny Terry. 
Brownie McGhee
Poor Boy 4:40
Walking Blues 3:42
Brownie's Blues 4:25
How Long 4:04
from Brownie McGhee Sings the Blues 1959
Piedmont blues singer and guitarist Brownie McGhee's voice rings clear over his strumming about love, cheating, and remembering his friend Big Bill Broonzy.

A good soul-jazz and hard bop tenor and soprano saxophonist, Curtis Amy enjoyed a busy period in the '60s, then dropped out of sight. He had a strong tone and nice, lightly swinging style...
Curtis Amy & Paul Bryant
Paul Bryant - The organist and pianist, whose cool sound was a key component in the burgeoning L.A. sound, appeared on eight albums and performed around the world. 
Searchin' (Paul Bryant) 8:48
The Blues Message 8:43
This Is the Blues 8:25
from The Blues Message 1960
The Blues Message is an album by saxophonist Curtis Amy and organist Paul Bryant recorded in 1960 for the Pacific Jazz label.
Curtis Amy - tenor saxophone   Paul Bryant - organ   Roy Brewster - valve trombone   Clarence Jones - bass   Jimmy Miller - drums

Bill Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings / Jack McDuff
A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases
Enough Said (Alvin Johnson) 6:45
Billin' and Bluin', Pt. 1 4:47
from Enough Said  / Glide On 1959 / 1960

Josh White began as a Southern bluesman but eventually evolved into an eclectic, urbane artist.  To many blues enthusiasts, Josh White was a folk revival artist. It's true that the second half of his music career found him based in New York playing to the coffeehouse and cabaret set and hanging out with Burl Ives, Woody Guthrie, and fellow transplanted blues artists Sonny Terry & Brownie McGhee...
Josh White
Good Morning Blues 4:48
Mean Mistreater 4:59
T.B. Blues 4:43
from The House I Live In 1960

25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965

25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965 # Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt,Larry Young, Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd

J A Z Z   M U S I C

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1959-1965

Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings
Dark Eyes 4:44
Dig Uncle Will (Jack McDuff) 3:32
Enough Said (Alvin Johnson) 6:45
from Enough Said 1959
Jennings leads a relaxed quartet which includes Jack McDuff (organ), Wendell Marshall (bass), and Alvin Johnson (drums) on this 1959 session. Jennings shows off the bluesy tone that made him a favorite of B.B. King on his composition "Tough Gain" and the group-penned "Blue Jam," but aside from these, most of the tracks are slow-to-midtempo shuffles -- edifying yet not exciting...

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Johnny Rae's Afro-Jazz Septet
St. Thomas (Sonny Rollins) 8:04
Jungle Fantasy (Esy Morales) 7:56
Sudan 3:50
from Herbie Mann's African Suite 1959
Herbie Mann's African Suite (also released as St. Thomas) is an album by American jazz flautist Herbie Mann recorded in 1959 and first released on the United Artists label. The album was originally released under Johnny Rae's leadership due to Mann's contractual relationship with Verve Records.
Herbie Mann - flute, bass clarinet
Johnny Rae - vibraphone
Bob Corwin - piano
Jack Six - bass
Philly Joe Jones - drums
Carlos "Patato" Valdes, Victor Pantoja - congas
José Mangual - bongos

05-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1967-1959

05-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1967-1959 # Thelonious Monk, Art Blakey & The Jazz Messengers, Wayne Shorter, Herbie Hancock, Miles Davis, Ike Quebec, Sarah Vaughan, Hank Crawford, Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt

J A Z Z   M U S I C

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1967-1959

A brilliant composer and a criminally underrated pianist whose sense of rhythm, space, and harmony made him one of the founders of modern jazz. 
Thelonious Monk
Locomotive (Thelonious Monk) 6:40
Straight, No Chaser (Thelonious Monk) 11:28
from Straight, No Chaser 1967
This is the sixth studio album cut by Thelonious Monk under the production/direction of Teo Macero for Columbia and as such should not be confused with the original motion picture soundtrack to the 1988 film of the same name. The band featured here includes: Monk (piano), Charlie Rouse (tenor sax), Ben Riley (drums), and Larry Gales (bass). This would be the final quartet Monk would assemble to record with in the studio. While far from being somber, this unit retained a mature flavor which would likewise place Monk's solos in a completely new context...

The guru of hard bop, whose famous technique -- frequent, high volume snare with bass drum accents -- made him one of jazz's all-time best messengers. 
Art Blakey & The Jazz Messengers
The Egyptian (Curtis Fuller) 10:25
Calling Miss Khadija (Lee Morgan) 7:21
from Indestructible 1966
Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well...

The band led by drummer Art Blakey groomed more than 150 alumni members, including saxophonist Wayne Shorter and trumpeter Lee Morgan.

A major sax innovator for hard boppers and fusionists alike, due to his influential tenures with Art Blakey, Miles Davis, and Weather Report. 
Wayne Shorter
Witch Hunt (Wayne Shorter) 8:11
Speak No Evil (Wayne Shorter) 8:23
from Speak No Evil 1966
On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work...

Herbie Hancock and Wayne Shorter

Inventive, intelligent, and talented pianist/keyboardist whose distinguished career has covered modern jazz, fusion, hip-hop, and dance. 
Herbie Hancock
Succotash (Herbie Hancock) 7:40
Jack Rabbit (Herbie Hancock) 5:57
from Inventions & Dimensions 1964
For his third album, Inventions and Dimensions, Herbie Hancock changed course dramatically. Instead of recording another multifaceted album like My Point of View, he explored a Latin-inflected variation of post-bop with a small quartet. Hancock is the main harmonic focus of the music -- his three colleagues are bassist Paul Chambers, drummer Willie Bobo, and percussionist Osvaldo "Chihuahua" Martinez, who plays conga and bongo. It is true that the music is rhythm-intensive, but that doesn't mean it's dance music. Hancock has created an improvisational atmosphere where the rhythms are fluid and the chords, harmonies, and melodies are unexpected...