Due to the strong lineup and the basic but perfectly suitable material, this Jimmy McGriff CD is well worth picking up. The groovin' organist teams up with David "Fathead" Newman (heard on alto, tenor and flute), Rusty Bryant (doubling on tenor and alto), either Mel Brown or Wayne Boyd on guitar, and drummer Bernard "Pretty" Purdie. Basic originals alternate with such standbys as "I'm Getting Sentimental over You" and "Georgia on My Mind," with everyone playing up to their potential. A fun and swinging session.
Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter.
Between 1976 and 1979, Jimmy McGriff was often featured in the disco-style productions of Groove Merchant house arranger Brad Baker. The records usually surrounded the great organist with a huge army of studio musicians, big horn sections, string parts and often heard McGriff playing keyboards other than organ. THE MEAN MACHINE, from 1976, was the first of these productions and McGriff doesn't even play organ here.
A treasure trove of previously unreleased material, this brings together 25 new tracks, all recorded between 1953 and 1957. Only two songs, "Heaven on My Mind" and "I'm Going Through," were ever released in any form, but the quality of the material is certainly as high as any of their early sides. Here's one of gospel's greatest groups, singing their hearts out in their absolute prime.
On his eighth album, Jimmy Thackery churns out rugged, no-nonsense, authoritative rock, with a passion and commitment that seep through every track. Thackery's grinding guitar and growling voice pound out each song as if he's playing for thousands of people. He is produced once again by the experienced Jim Gaines who, through his work with Stevie Ray Vaughan, Albert Collins, Tommy Castro, and Santana, knows his way around a blues-rock record. The uncut, Stonesy chug of "Never Enough" and "Lovin' My Money" is offset by the harder-edged funk of "Grab the Rafters" and the easier jazz shuffle of "Bad News"…
Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.
This four-CD, 100-song set is the best representative body of work ever assembled (or ever likely to be assembled) of the R&B and soul releases from Henry "Juggy Murray" Jones' Sue Records. The range of sounds runs the gamut from ex-Drifter Bobby Hendricks' first hit for the company ("Itchy Twitchy Feeling") in 1959, through the string of hits by Ike & Tina Turner, to the company's last hits some seven years later. Not only is every chart single that the label ever had represented, but so are club hits from the mid-'60s and solo sides by uniquely New York-associated figures. The contents of the box are almost ideal, along with their arrangement – in contrast some other box sets, this one follows strict release order, which is a great way to follow the history of the label (though not ideal for anyone, apart from owners of multi-disc players, who simply wants to hear the label's best-known tracks in one sitting).