MiXTAPE: ...when i was three... music from 1962 PnM.MiX

...when i was three...  music from 1962

M U S I C 1962

Booker T & the MGs – Green Onions

The Rollin' Stones - Roll over Beethoven (London, 12 July 1962 at the Marquee Club)

The Beatles - P.S. I Love You (Single Version, 11 September 1962)

Bob Dylan - House of the Risin' Sun

Lightnin' Hopkins - Awful Dreams

Muddy Waters, Howlin' Wolf, Little Walter - You Shook  Me

John Lee Hooker - Crawlin' King Snake

Arthur "Big Boy" Crudup - That's All Right

Albert King - This Morning

John Lee Hooker - Blues Before Sunrise

Alexis Korner - How Long, How Long Blues

Bob Dylan - Highway 51 Blues

Muddy Waters - Tiger in your Tank

B.B. King - Hully Gully Twist

Jimmy Smith - Beggar for the Blues  

Herbie Mann - Minor Groove

Rahsaan Roland Kirk - Domino

Oscar Peterson Trio With Milt Jackson - Work Song

Paul Desmond / Gerry Mulligan - Stardust

Louis Armstrong & Duke Ellington - I'm Beginning to See the Light

Herbie Hancock - Watermelon Man

Grant Green - Sometimes I Feel Like A Motherless Child

Donald Byrd - Royal Flush

Ike Quebec - Goin' Home

Grant Green - Blues In Maude's Flat

Rahsaan Roland Kirk - You Did It, You Did It

Stan Getz - Desafinado

João Gilberto, Antônio Carlos Jobim - One Note Samba

Jimmy Smith - Judo Mambo

Jimmy McGriff - M.G. Blues

Booker T & the MGs – You Can't Sit Down

Junior Parker - I Wanna Ramble

Gene Chandler - Stand By Me

John D. Loudermilk - Road Hog

Françoise Hardy - Le temps de l'amour

Petula Clark - Ya Ya Twist

The Beach Boys - Surfin' Safari

Elvis Presley - Good Luck Charm

Ray Charles & His Orchestra - Unchain My Heart

Ricky Nelson - My Babe

Duane Eddy - The Ballad of Paladin

Dave "Baby" Cortez - Rinky Dink

Sandy Nelson - Drums Are My Beat

Shelley Fabares - Johnny Angel 

Little Eva - The Loco-Motion 

Dee Dee Sharp - Gravy (For My Mashed Potatoes) 

Freddy Cannon - Palisades Park 

Chubby Checker - Slow Twistin'

The Shirelles - Baby It's You

The Isley Brothers - Twist and Shout

Chris Montez - Let's Dance

Mary Wells - The One Who Really Loves You

 Sam Cooke- Twistin' the Night Away

Brian Hyland - Sealed With a Kiss 

Ketty Lester - Love Letters

Bent Fabric - Alley Cat 

King Curtis - Soul Twist 

 Ace Cannon - Careless Love

Clyde Mcphatter - Lover Please

Barbara George - I Know (You Don't Love Me No More)

Rick Nelson - Young World

Dion - The Wanderer 

Burl Ives - A Little Bitty Tear

Ernie Maresca - Shout Shout (Knock Yourself Out)

Sam Cooke - Having a Party 

Joanie Sommers - Johnny Get Angry

Joe Henderson - Snap Your Fingers

Ray Charles - You Are My Sunshine

Aretha Franklin - I Surrender Dear

Joey Dee and The Starlighters - Shout   

Billy Vaughn - A Swingin' Safari

Mary Wells - You Beat Me to the Punch -

Barbara Lynn- You'll Lose a Good Thing 

Billy Joe & The Checkmates - Percolator (Twist) 

The Ikettes - I'm Blue (The Gong-Gong Song) 

The Kingston Trio - Where Have All The Flowers Gone 

The Highwaymen - Cotton Fields

Peter, Paul & Mary - If I Had a Hammer 

Duane Eddy - Dance with the Guitar Man

Arthur Lyman - Caravan

Martin Denny - Black Orchid

Elvis Presley - Return to Sender

The Tokens - The Lion Sleeps Tonight

Ray Stevens - Ahab the Arab

Pat Boone - Speedy Gonzales

Tornadoes - Telstar

The Shadows - Wonderful Land

The Everly Brothers - How Can I Meet Her

Fats Domino - Jambalaya (On the Bayou)

Bruce Channel - Hey Baby

Duane Eddy - Deep in the Heart of Texas

The Vernons Girls - Lover Please

The Spotnicks - Orange Blossom Special

Jet Harris - The Man with the Golden Arm

The Mar-Kets - Surfer's Stomp

The Beach Boys - Surfin'

Jennell Hawkins - Moments (To Remember)

Ben E. King - Don't Play That Song (You Lied)

Jimmy Norman - I Don't Love You No More (I Don't Care About You)

Bobby Vee, The Crickets - Someday (When I'm Gone from You)

Les Cooper & The Soul Rockers - Wiggle Wobble

13-11-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1961-1972

g l o b a l  m u s i c a l   v i l l a g e

LA LUPE

13-11-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1961-1972 # WmW: La Lupe,  Lucio Alves, Quincy Jones, João Gilberto, Cal Tjader, Stan Getz Quartet, Astrud Gilberto, Bert Jansch, Chico Buarque, Eddie Palmieri / Cal Tjader, Joe Bataan, Gal Costa,Pentangle, Carlos Paredes,Fela Kuti

M  U  S  I  C / WmW

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1959-1965

 Cuban rock & roll-style singer renowned for her frenzied performances and anarchic stage antics. Singer La Lupe (born Guadalupe Victoria Yoli Raymond) became involved in music while finishing teacher training, performing live in different public places. In 1962, the artist, also known as La Yiyiyi, settled in New York, getting along with percussionist Mongo Santamaría
La Lupe
Con El Diablo En El Cuerpo (Julio Gutierrez)
Feever / Fiebre (E. Cooley)
No Me Quieras Así (Facundo Rivero)
from Con El Diablo En El Cuerpo 1963
La Lupe became a legend, and not only because she dropped out of sight in the U.S., amid bizarre rumors of her whereabouts. She was a great loss. She wasn't as honed a singer as Celia Cruz, but she was a much quirkier one, melding Cubanisms, rock & roll and marginal flakiness into something personal and sometimes gloriously off-the-wall.

Lucio Alves - O Samba da Minha Terra
Quincy Jones - Soul Bossa Nova
João Gilberto - O Pato
Cal Tjader - Meditação
from Bossa Nova - The New Wave of Brazilian Music 1958-1962
Bossa nova is a style of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means literally "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students. In Brazil, the word "bossa" is old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba: "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." ("Samba, readiness and other bossas are our things, are things from us.")...

 One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound." He possessed one of the most beautiful tones in all of jazz, and was among the greatest of melodic improvisers.
 The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s
Stan Getz Quartet, Astrud Gilberto
Corcovado (Quiet Nights of Quiet Stars) (Antônio Carlos Jobim / Gene Lees)
Eu E Voce (Me and You) (Antônio Carlos Jobim / Vinícius de Moraes)
One Note Samba (Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça)
from Getz au Go Go 1964
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the "Girl From Ipanema," extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João's wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed "Bossa Nova Era"...

08-11-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1963-1975

 

08-11-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1963-1975 # Johnny Hartman, Jimmy Smith, Sonny Rollins, Dexter Gordon, Stan Getz, Gábor Szabó, Lalo Schifrin, John Coltrane, Donald Byrd, Les McCann, Joe Henderson, Milt Jackson, Harry Beckett

J A Z Z   M U S I C

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.JAZZ_line on deezer

JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.

1963-1975

A superior ballad singer with a warm baritone, best known for his classic full-length collaboration with John Coltrane.

Johnny Hartman
Stairway to the Stars (Matty Malneck / Mitchell Parish / Frank Signorelli)

Charade (Henry Mancini / Johnny Mercer)
In the Wee Small Hours of the Morning (Bob Hilliard / David Mann)
from I Just Dropped By to Say Hello 1963
The second Impulse! session for ballad singer Johnny Hartman followed his classic collaboration with John Coltrane. Hartman is heard in peak form throughout these 11 pieces, which include "In the Wee Small Hours of the Morning," "Stairway to the Stars," and even "Charade." Tenor saxophonist Illinois Jacquet is on five of the songs, guitarists Kenny Burrell and Jim Hall help out on a few tunes, and Hartman is consistently accompanied by pianist Hank Jones, bassist Milt Hinton, and drummer Elvin Jones. This is one of his finest recordings.

A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time.
Jimmy Smith
Prayer Meeting (Jimmy Smith)
I Almost Lost My Mind (Ivory Joe Hunter)
Lonesome Road (Gene Austin / Nat Shilkret)
from Prayer Meetin' 1964
Playing piano-style single-note lines on his Hammond B-3 organ, Jimmy Smith revolutionized the use of the instrument in a jazz combo setting in the mid-'50s and early '60s, and arguably his best albums for Blue Note during this period were the ones he did with tenor sax player Stanley Turrentine. Recorded on February 8, 1963, at Van Gelder Studio in New Jersey, and featuring Quentin Warren on guitar and Donald Bailey on drums in addition to Smith and Turrentine, Prayer Meetin' is a delight from start to finish... The blues roots are obvious here, and the Smith-penned title track might even be called jazz-gospel, but the single most striking cut is a version of Ivory Joe Hunter's "I Almost Lost My Mind," with both Smith and Turrentine building wonderful solos, suggesting new pathways for organ and sax as complementary instruments.

Voted by Miles Davis as the greatest tenor ever, an inventive saxophonist and an astonishing soloist.
Sonny Rollins
On Green Dolphin Street (Bronislaw Kaper / Ned Washington)
Hold 'Em Joe (Harry Thomas)
Three Little Words (Bert Kalmar / Harry Ruby)
from On Impulse! 1965
In 1965 and 1966 tenor giant Sonny Rollins issued three albums for the Impulse label. They would be his last until 1972 when he re-emerged on the scene from a self-imposed retirement. This date is significant for the manner in which Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins, who's been recording for RCA and its Bluebird subsidiary, had spent the previous three years (after emerging from his first retirement) concentrating on standards and focusing deeply on intimate, intricate aspects of melody and harmony. He inverts the approach here, and digs deeply into pulse and rhythm and leaving melody to take care of itself...

One of the outstanding tenor saxophonists in jazz history, and a major figure in bop known for his heavy doses of swing.
Dexter Gordon
Manha de Carnaval (Luiz Bonfá / Antônio Maria)
Heartaches (Al Hoffman / John Klenner)
Everybody's Somebody's Fool (Howard Greenfield / Jack Keller)
from Gettin' Around 1966
Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop...

02-09-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1959-1965

g l o b a l  m u s i c a l   v i l l a g e

Alfredo Marceneiro

02-09-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1959-1965 # WmW: Alfredo Marceneiro, Pedro Laza y Sus Pelayeros, Pete Seeger, Frank Hamilton, Shirley Collins, Miriam Makeba, The Louvin Brothers, Lucio Alves, Quincy Jones, João Gilberto, Cal Tjader, La Lupe, Stan Getz Quartet, Astrud Gilberto, Bert Jansch

M  U  S  I  C / WmW

if you want excitement PRESS SHUFFLE!

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1959-1965

Alfredo Rodrigues Duarte (February 25, 1891 - June 26, 1982) better known as Alfredo Marceneiro due to his profession (Portuguese; marceneiro - English; woodworker) was a Portuguese fado singer, owner of a singular voice, became a milestone in this kind of music in Portugal.
Alfredo Marceneiro
Senhora Do Monte
O Amor É Água Que Corre
A Casa Da Mariquinhas
from O Fabuloso Marceneiro 1961

Pedro Laza Gutiérrez was born in 1904 in the northern Caribbean coastal port city of Cartagena de Las Indias, Colombia, and died there in 1980. After learning several instruments at a young age, Laza went on to study typography and graphic design, but at age 17 he knew that music was his calling, so he learned the bandurria (a type of small guitar), later learning to play the contrabass. At age 21 he founded his first musical group, 
Pedro Laza y Sus Pelayeros 
Se Te Cayeron los Dientes feat. Nono Narváez
El Corralejo (Instrumental)
Ritmo del 60 / Ritmo Del Sesenta feat. Lucho Argaín
from Fandango 1960

Perhaps no single person in the 20th century did more to preserve, broadcast, and redistribute folk music than Pete Seeger, whose passion for politics, the environment, and humanity earned him both ardent fans and vocal enemies ever since he first began performing in the late '30s.
Multi-instrumentalist, vocalist, and folk song collector Frank Hamilton has played a seminal role in the evolution of American folk music. A co-founder of the Old Town School of Music in Chicago in 1957, Hamilton taught the future leader of the Byrds, Roger McGuinn, to play guitar and banjo. 
Pete Seeger, Frank Hamilton
Ragtime Annie
Rye Straw
Blues
Pygmy Tune (Africa)
from Nonesuch and Other Folk Tunes 1959
The full title of this Pete Seeger/Frank Hamilton duo album is Nonesuch and Other Folk Tunes for Harmonica, Flute, Recorder, Mandolin, Guitar, Banjo, 12-String Guitar, and Voices, an important point since the album credits never indicate who's playing what. It appears that Seeger and Hamilton each picked up one or the other of the indicated instruments for the tunes selected for this picking session and went to town. That the word "Voices" appears last is significant in that this is largely an instrumental album... This is not a major album for the catalogs of either performer, but it is a light, enjoyable effort.

Pete Seeger and Frank Hamilton at a recording session.

A leading English folk singer who has at times challenged the boundaries of British folk. A pivotal figure in Britain's early-'60s folk revival and subsequent folk-rock heyday, Shirley Collins' influence on these movements, and folk music at large, cannot be understated. With her pure, unaffected vocal tone and Sussex accent, she first launched her recording career in the late '50s...
Shirley Collins
I Drew My Ship (Traditional)
My Bonny Miner Lad (Traditional)
The False True Love (Traditional)
Scarborough Fair (Traditional)
from False True Lovers 1959
As a key figure in the British folk revival, this recording originally produced for Folkways in 1959 presents Shirley Collins at a tender age of 23 recording under the eye of legendary Folkways producer and then partner Alan Lomax assisted by pragmatic engineer Peter Kennedy. Recorded in London in a two-day marathon, the most distinctive voice in British folk song interpretation recorded this album of a cappella renditions of British and Irish tunes. Inflecting the collection with Appalachian gems she and Lomax had discovered in one of their legendary research jaunts the same year, False True Lovers is as vital a collection of this astonishing singer that exhibits the full spectrum of her interest and research into folk music tradition...

 South African songstress dubbed "Mama Africa," an absolute icon of African jazz. Following a three-decade-long exile, Miriam Makeba's return to South Africa was celebrated as though a queen was restoring her monarchy. The response was fitting as Makeba remains the most important female vocalist to emerge out of South Africa. Hailed as the Empress of African Song and Mama Africa, Makeba helped bring African music to a global audience in the '60s. Nearly five decades after her debut with the Manhattan Brothers, she continues to play an important role in the growth of African music.
Miriam Makeba
The Retreat
Olilili
House of the Rising Sun  
from Miriam Makeba 1960
Miriam Makeba had just made a splash in New York nightclubs and earned a fistful of press only a few months earlier when RCA Victor Records snapped her up and recorded her first album in May 1960. Clearly, the label was hoping to repeat the success of her mentor, Harry Belafonte, whose Belafonte Folk Singers accompanied her on some tracks and who wrote a blurb for the album's back cover. Like Belafonte, she was a black singer with an exotic, folk-based repertoire who could translate her music into a sophisticated club act...

 One of the top close-harmony acts in country music history, with Ira's incredibly high, pure tenor against Charlie's emotional melody tenor. Arguably the finest close-harmony duo in the history of country music, the Louvin Brothers were standard bearers of the traditions of Appalachian music at a time when Nashville was moving country music into a more modern direction.
The Louvin Brothers
Take My Ring From Your Finger (Charlie Louvin / Ira Louvin)
Streamline Heartbreaker (Charlie Louvin / Ira Louvin )
Red Hen Boogie (Charlie Louvin / Ira Louvin)
from Love and Wealth: The Lost Recordings / Between 1951 and 1961 (2018)
The Louvin Brothers were arguably the greatest close harmony duo in the history of country music. Ira and Charlie Louvin both possessed clear tenor voices that could dance around one another with ease and skill, and the passion and conviction of their best recordings is little short of revelatory. Charlie and Ira were also songwriters, and before their careers as performers took off, they were contract tunesmiths for Acuff-Rose, among the biggest and most prestigious publishing houses in the country field. Their job wasn't just to write songs, but to follow trends while also attempting to anticipate them. Like most songwriters, the Louvin Brothers made rough demo recordings of their compositions so they could be heard by prospective artists, though they were never intended for release to the general public. Between 1951 and 1961, the Louvins recorded dozens of publishing demos, and 29 of these rare recordings have been restored on the collection Love and Wealth: The Lost Recordings...

Lucio Alves - O Samba da Minha Terra
Quincy Jones - Soul Bossa Nova
João Gilberto - O Pato
Cal Tjader - Meditação
from Bossa Nova - The New Wave of Brazilian Music 1958-1962
Bossa nova is a style of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means literally "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students. In Brazil, the word "bossa" is old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba: "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." ("Samba, readiness and other bossas are our things, are things from us.")...

 Cuban rock & roll-style singer renowned for her frenzied performances and anarchic stage antics. Singer La Lupe (born Guadalupe Victoria Yoli Raymond) became involved in music while finishing teacher training, performing live in different public places. In 1962, the artist, also known as La Yiyiyi, settled in New York, getting along with percussionist Mongo Santamaría
La Lupe
Con El Diablo En El Cuerpo (Julio Gutierrez)
Feever / Fiebre (E. Cooley)
No Me Quieras Así (Facundo Rivero)
from Con El Diablo En El Cuerpo 1963
La Lupe became a legend, and not only because she dropped out of sight in the U.S., amid bizarre rumors of her whereabouts. She was a great loss. She wasn't as honed a singer as Celia Cruz, but she was a much quirkier one, melding Cubanisms, rock & roll and marginal flakiness into something personal and sometimes gloriously off-the-wall.

 One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound." He possessed one of the most beautiful tones in all of jazz, and was among the greatest of melodic improvisers.
 The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s
Stan Getz Quartet, Astrud Gilberto
Corcovado (Quiet Nights of Quiet Stars) (Antônio Carlos Jobim / Gene Lees)
Eu E Voce (Me and You) (Antônio Carlos Jobim / Vinícius de Moraes)
One Note Samba (Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça)
from Getz au Go Go 1964
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the "Girl From Ipanema," extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João's wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed "Bossa Nova Era"...

 A master of British folk/blues guitar who influenced countless artists with his tenure with folk-rock heroes Pentangle and his self-penned solo work.  One of the most important figures in contemporary British folk, Bert Jansch brought an unsurpassed combination of virtuosity and eclecticism to the acoustic guitar, both as a solo act and as a key member of Pentangle.
Bert Jansch
The Waggoner's Lad (Traditional)
Jack Orion (Traditional)
Blackwaterside (Traditional)
from Jack Orion 1965
After presenting almost all-original sets on his first two albums (albeit originals that sometimes borrowed heavily from traditional folk themes), Jansch opted to devote all of his third LP to traditional folk numbers. His future Pentangle partner John Renbourn joins him on four of the eight songs. Highlights include the ten-minute title track (whose length was a real oddity on contemporary folk albums of the time).. Not as original as the artist's first two LPs, the guitar and vocal work on these adaptations were still as influential to the '60s folk world as anything else in Jansch's catalog.