One of the most exciting of the blues shouters ever was Texas-born Eddie 'Cleanhead' Vinson (1917-1988) whose declamatory style and big, virile voice had the intensity and impact of such other greats as Joe Turner and Jimmy Rushing. But Vinson was also a musician of much wider scope; he was one of the first altoists outside the bebop inner circle to absorb the innovations of Charlie Parker, while Coltrane worked in his band in 1952-1953. After a spell off the scene, he was signed by altoist Cannonball Adderley to record for Riverside Records, the label for which Adderley himself worked. Back Door Blues is the result of two successful sessions in 1961-2, on which the Cannonball Adderley Quintet offered Cleanhead a solid, spirited, blues-rooted foundation for his earthy singing and basic, pure-lined, lyrical alto. With both Cannonball and Nat Adderley also in prime form, Joe Zawinul delivering funk without triteness, and Sam Jones and Louis Hayes completing an idiomatically flexible rhythm section that combined sophistication with implacable swing, it was a reminder of just how good Vinson was at both aspects of his art.
the ten shades of blues rar
Download File: https://byltly.com/2vFzbZ
"Heres a soulful team for you. Eddie Cleanhead Vinson who basically defined the blues alto sax, joins together with the bopping funk and gospel specialist Cannonball Adderley with a prime time band of Nat Adderley/ct, Joe Zawinul/p, Sam Jones/b and Louis Hayes/dr. Recorded in 1961, the album (and bonus tracks) consist of Vinson on vocals with Cannonball on the horn, or Vinson on the alto and the heavyweight saxist sitting out the tune. You could complain about not hearing both altos sparring for a few rounds, but you still get a lot of good times, with Vinson laying down the law on Bright Lights, Big City, Person to Person a moanin Back Door Blues and Just a Dream while Cannonball fills in with some warm licks. Vinson aint no slouch on the sax either, having a good time with the band on Vinsonology and Bernices Bounce. and a cooking take of Arriving Soon that doesnt miss the leader. The band bounces like a pinball game, complete with flappers snapping up the ball for a new go round. Tight and blue as fresh washed jeans." George Harris (January 27, 2014) www.jazzweekly.com ---------------------------------------------------- "During these two sessions, Eddie "Cleanhead" Vinson was joined by the Cannonball Adderley Quintet. Five of the ten selections here were previously unissued. On Vinson's vocal numbers, he is backed by altoist Cannonball Adderley, cornetist Nat Adderley, pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes. Unfortunately, on the instrumentals and the one vocal tune on which he also plays ("Kidney Stew"), Vinson is the only altoist, as Cannonball sits out. Despite these missed opportunities, the music on this release is quite worthy, with Cleanhead in top form on such numbers as "Person to Person" and "Just a Dream." Scott Yanow -All Music Guide
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Resistenza, Stardust, Vinyl Coda lll-lV, Vinyl Coda l-ll, Arcade, Iklectik, Cardinal, An Ark for the Listener, and 9 more. , and , . Purchasable with gift card Buy Digital Discography 70.70 GBP or more (30% OFF) Send as Gift Limited Edition Compact Disc Compact Disc (CD) + Digital Album Digipac with photography and design by Jon Wozencroft Includes unlimited streaming of Stoke via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. $(".buyItem .bd").last().bcTruncate(TruncateProfile.get("buyItem"), "more", "less"); Sold Out Share / Embed 1. Above 05:59 buy track 2. Lambing 04:48 buy track 3. Vienna Faults 06:08 buy track 4. Pax 08:09 buy track 5. Below 07:32 buy track 6. Open 05:57 buy track 7. Close 14:54 buy track about With its acrobatic athleticism and penchant for charming gimmicks, in all likelihood HipHop will indefinitely dominate the field of turntablism. Even record-spinning abstractionists like Christian Marclay and Martin Tetrault, who may not always share HipHop's necessity for the beat, put on flashy demonstrations that engage the machismo of technique, alongside their critically minded recombinations of cultural readymades. While Philip Jeck's performances, installations, and recordings have centred around his arsenal of turntables (at last count, he was up to 180 antique Dansette record players, though more normally he performs on two or three, and a minidisc recorder), he isn't terribly interested in the contemporary discourse of turntablism, preferring to coax a haunted impressionism with those tools. However as a calculating improvisor, he shares affinities with the turntable community. Once he is in control of the overall context of the music, he leaves much to the spontaneous reaction towards sound at any given moment.A typical Jeck composition moves at an incredibly lethargic pace through a series of looped drone tracks caught in the infinities of multiple locked grooves. As he prefers to use old records on his antique turntables, the inevitable surface noise crackles into gossamer rhythms of pulsating hiss. Occasionally, Jeck intercedes in his ghostly bricolage with a slowly rotated foreground element - a disembodied voice, a melody, or simply a fragment of non-specific sound - which spirals out of focus through a warm bath of delay. For almost ten years now, Jeck has been developing this methodology, building up to Stoke, his strongest work to date. Its opening passages are on a par with his Vinyl Coda series, with Jeck effortlessly transforming grizzled surface noise into languid atmosphere.But Stoke really gets going with the breathtakingly simple construction of Pax, upon which Jeck overlays an aerated Ambient wash with the time-crawling repetition of a single crescendo from an unknown female blues singer. By downpitching her voice from the intended 78 rpm to 16 rpm, he amplifies its emotional tenor by making her drag out her impassioned declarations of misery far longer than is humanly possibly. The effect is just beautiful. Philip Jeck has always been good, but Stoke makes him great. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released January 1, 2002 license all rights reserved tags Tags experimental jeck touch turntablism vinyl Liverpool Shopping cart total USD Check out about Philip Jeck Liverpool, UK
"The next phase found the group moving towards RayCharles ('Sticks And Stones' etc.), and, slightly later, to thebeautiful blues sound of Bobby Bland. This beloved rhythm andblues, which seemed to live only in the underground world of TheShades, was soon to burst into the national pop consciousness, asthe first wave of Beatlemania hit in mid 1963. Suddenly everybodywas singing 'Twist And Shout', or proclaiming 'Money, that's whatI want'. As the beat boom soared, groups were springing up fromeverywhere in England to make records of our cherished R & Bsongs. The early Rolling Stones (who had visited The Shades tocheck out its esoteric juke box selection) brought everyone'sattention to Chuck Berry and Bo Diddley. Chuck Berry's materialwas already well established in The Shades cellar. The BerrySound well-suited Rob's pride and joy, his 'Country Gent', thefirst gold-plated Gretsch guitar in the country. I can wellremember Gary, smacking at a tambourine, sitting on the pianostool singing 'Memphis, Tennessee', and also his struggle withthe catalogue-styled words of 'No Money Down'."
When "Rock Around The Clock" came out in 1954, I went to Schmidt's Music in downtown Minneapolis and put my money on the counter. That was the first record I bought with "my own money." I was in fifth grade. By that time I had started listening to records with my lifelong friend Steve Thomes, whose family shared our duplex. He had got ahold of Leadbelly's "Sinful Songs" in the form of a folio of 78s (a wedding gift to his parents). We listened to the Sinful Songs again and again and I got to know them quite well. That was my first experience of blues music. Between that and the blues piano that I heard on rock & roll records (Fats Domino first, then Jerry Lee Lewis and, later, Ray Charles), I was motivated to play by ear and to go in a direction that was different from what I learned at my piano lessons. So, I was working on my style before I was out of grade school. The first blues riffs that I remember trying to learn from records were on Fats Domino's "Blue Monday."
Steve Thomes was a musical prodigy who, by his teen years, had learned to emulate Leadbelly (vocally and on twelve-string guitar) and Robert Johnson (vocally and on six-string guitar, fretting or with the slides that he fashioned out of glass or metal). This may sound like an outlandish claim, but his music speaks for itself. He did not choose a career as a performer, but he still plays and sings just as brilliantly as ever. The late Dave "Snaker" Ray, was our schoolmate and dear friend. Thomes showed him some stuff on twelve, and Snaker went on to success with Koerner, Ray And Glover. (Like the Butterfield Band, they recorded for Elektra Records.) This local sub-culture of blues enthusiasts also included Barry Hansen, who was also a schoolmate. His nationally-syndicated "Dr. Demento" radio show, which brought him great fame a few years later, devolved mostly on novelty songs. But Barry was already a serious record collector when I met him (we were on the swimming team together, the two slowest guys on the team). He went on to be a musicologist with a vast knowledge of American popular music. His Master of Arts thesis in music (UCLA, 1967) was "Negro Popular Music 1945-1953." And in our schooldays, it was Barry who spun all the records at our sock hops and dances (and wherever else they would let him set up a turntable), so we danced to a steady flow of Bo Diddley and the slow-blues flipsides of Chuck Berry hits, and all kinds of R&B and lots of doo wop. 2ff7e9595c
Comments