Jazz fusion from a man who has performed live and/or on recordings with jazz guitar legend Pat Martino, Dave Fiuczynski, Allan Holdsworth, Andreas Oberg, Scott McGill, David Torn, and more.
Victor Aloysius Meyers was born in mid -1898 as the 15th of 16 children in Little Falls, Minnesota. Vic's father was County Treasurer for Morris County, Minnesota, a position he held for 30 years. When the family moved West to Oregon in the mid-'teens, Vic started on a musical career. He could play violin, but by the age of 18, he was a drummer in a three piece group that played each summer at Seaside, an ocean resort. At 21, in 1919 he got a two year contract to play with a full size band in the Rose Room in Seattle’s Hotel Butler, located at the corner of 2nd Avenue and James Street. Its construction started around 1900 and when it opened it "immediately became the jewel in the City’s crown. Its lavish Rose Room grill featured magnificent cuisine in an atmosphere of top recording orchestras, cut-glass chandeliers, thick imported carpets and sterling silver."
Sammy tips his hand by calling his acoustic album Lite Roast, the very title suggesting that these low-key renditions of old tunes are designed for smooth consumption at a coffeehouse. And he's not wrong! Strumming a 12-string while accompanied by Wabos guitarist Vic Johnson, Hagar approximates the kind of intimate atmosphere that can be found anywhere there's an open mike…
This edition presents, for the first time ever on CD, two of the best albums made by Pee Wee Russell in the late 50s. “Pee Wee Russell Plays” (1959), featuring the leader (who is also the composer of all the tunes) along with stars like Buck Clayton, Vic Dickenson and Bud Freeman. As a bonus, the complete album “Portrait of Pee Wee” (1958), selected as one of 100 best jazz albums of all time, and also featuring Vic Dickenson and Bud Freeman, plus the great trumpeter Ruby Braff.
Frank Black and the Catholics was the eponymous debut album from Frank Black and the Catholics. The backing group on this album performed on Black's previous album, The Cult of Ray, but the group name was first adopted on this release. The album was recorded live to two-track tape over the course of two days in 1997, but a protracted dispute with Black's label American Recordings, reportedly over the "raw" sound of the recordings, delayed its release for 18 months.