Verve 60th Anniversary Rare Albums SHM-CD Reissue Series. Reissue with SHM-CD format. Two different sides of Verve Records in the 50s – one modern, one a bit more traditional – and both represented in live material from the Newport Jazz Festival in 1957! Side one features a stunning live performance from pianist Teddy Wilson – working in a tight trio with Milt Hinton on bass and Spec Powell on drums – and really blowing away any conceptions we might have had about Wilson being aging or flowery at the time. Instead, he's got a sharp edge and command of the keys that's amazing – and which almost seems to have a bit more bite than usual in this concert setting.
Thanks to the 1970s and '80s soul jazz movement and its 21st century counterpart, acid jazz, the Hammond B-3 organ has shown a remarkable ability to survive and adapt to changing musical trends – all without changing its swirling, pulsing tone one little bit. The Hammond Street anthology from Acid Jazz mixes in tracks from a couple of veteran B-3 players like Jimmy McGriff and Reuben Wilson with tracks from newer combos, and even though these newer groups cover songs like Nirvana's "Smells Like Teen Spirit," what is immediately obvious here is how much a B-3 sounds like a B-3 no matter what kind of clothes you drape over it. Highlights include the hard-charging "Itchy Feet" by the Past Present Organisation (which opens the disc), the ragged and energy-overloaded "Clubtown" by the Trashmonkeys, McGriff's "Ain't It Funky" (which indeed it is), and Wilson's "Sugar," a classic piece of soul jazz.
Acid Jazz continue their long term love affair with that most iconic of instruments, the Hammond organ and his little pal, the Leslie organ…
Carolyn Malachi is an artist’s artist. Her work is the kind that deeply studied technicians instantly recognize and appreciate as one of their own. And, while her work has largely straddled the fence between the avant-garde and the commercially accessible, with Rise: Story 1, she almost completely hops over to the side of experimentation and technician play. The results are a mix of flawlessly sung, rapped, and played material that feel disjointed in their arrangements and non-linear storytelling, creating an album more impressionistic than accessibly concrete, depending on how much creative play one can tolerate or embrace from their music.
This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio.