mjzee

Will Bernard was in T.J. Kirk.

Deutsche Grammophon 111 - The Violin, disc 13.

Check out Tommy's Jazz. I'm told he has an Ebay store, or email him directly at TommysJazz@outlook.com. In fact, he had a Steeplechase vinyl sale just a few weeks ago.

Release date May 5: Product Description Jim Alfredson brings everyone together for his first release as a leader for Posi-Tone Records. With all star horn players supporting a top notch organ trio in combination with a stunning program of new compositions and innovative arrangements, “Family Business“ clearly demonstrates Alfredson’s musical leadership and his total mastery of the Hammond organ. This hard hitting sextet session features the inspired front line playing of Diego Rivera on tenor saxophone, Alex Sipiagin on trumpet, and Michael Dease on trombone, along with the cool comping of Will Bernard on guitar, and the steady metrics of EJ Strickland on drums. Jazz fans everywhere will certainly agree that Jim Alfredson’s “Family Business” is a swinging good time that jazz fans of all ages can dig into over and over again! About the Artist Jim Alfredson comes from a musical family. Alfredson’s father earned a living as a professional musician for many years and encouraged his talents from a young age. Some of Jim's earliest memories include pulling on the drawbars of his father's Hammond B3 at the age of four. At the age of eight, Jim began writing his own songs on a Yamaha organ. A score of synthesizers and multitrack machines followed until he came full circle at 16 and became obsessed with the sound of the Hammond organ once again. Jim has immersed himself in the study of the mighty Hammond B3 ever since, dedicating his life to uncovering new directions within the deep tradition of the instrument. For 10 years, Jim served as organist and musical director of the highly successful regional rhythm & blues band Root Doctor (1999-2009). From 2010 until 2015, Jim was a member of Los Angeles based blues and Americana singer Janiva Magness’ band. He toured extensively nationally and internationally with the band until the pull of family life brought him back home for a few years of a touring sabbatical. In 2018, Jim started touring again and hit the road with Detroit’s Queen of the Blues, Thornetta Davis, appearing in Europe, Canada, and the US. He also toured Europe with blues guitarist James Armstrong. In 2022 he accepted the role of keyboardist and music director for blues guitarist Larry McCray. Family Business (2023 Posi-Tone) is the latest album and features the veteran lineup of Will Bernard, Michael Dease, Diego Rivera, Alex Sipiagin, EJ Strickland, and Kevin “Bujo” Jones. Alfredson’s back catalog includes a 2009 self-released album dedicated to the memory of his parents called In Memorandom. In 2013, Jim released Dirty Fingers - A Tribute To Big John Patton. In 2015 he released a progressive rock album under the name THEO called The Game of Ouroboros. In 2021 he released a follow-up called Figureheads. Jim’s longest running project is the jazz organ trio Organissimo, formed in 2000. Organissimo has released seven albums to critical acclaim and performed all over the world.
 Jim has performed with many luminaries of the blues and jazz world including Buddy Guy, BB King, Taj Mahal, David Sanborn, Randy Brecker, Chuck Israel, The Holmes Brothers, Ron Blake, and more. 

When he's not on the road, Jim lives with his beautiful wife Alison in Lansing, Michigan. Besides practicing, listening, and performing music, Jim enjoys cooking, home improvement, and spending time with his daughters Zora, Stella, & Scarlett. Jim is also a piano tuner and technician in the Lansing area. During the pandemic he got into vintage keyboard repair, including analog synthesizers. He does countless recording sessions for local and regional musicians. Jim is endorsed by Hammond Organ USA, Kurzweil Music Systems, and IK Multimedia often appearing as an artist for those companies at NAMM.

Perlman DG box, disc 2.

Decca - The Mono Years, disc 3. Also contains:

Probably my favorite box set packaging is from Rhino: "Beg Scream & Shout! The Big Ol' Box Of '60s Soul." The outer box is like a box that kids used to cart 45s around in, complete with plastic handle. Inside, each of the 6 CDs is in a sleeve designed like various labels' 45 paper sleeves. Instead of a booklet, it has a deck of cards, one for each artist. Each item is brilliantly designed to mimic the era. Bravo, Rhino!

Decca - The Mono Years, disc 2. Also contains:

Jim Keltner and Mike Watt?!?!? What's that like?

The tracks with Dodo are included in this Uptown release:

Deutsche Grammophon 111 - The Violin, disc 11.

Is this the cover you have? I have it on a Japanese CD with this cover:

Done. Didn't even notice auto-correct did that. I did prevent it from calling the album Hurricane.

Release date April 28: Blue Room: The 1979 VARA Studio Sessions in Holland features 2 recordings of trumpet/vocal icon Chet Baker at the VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O'Clock Jazz. The April 10th session feats. pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, & drummer Charles Rice. The November 9th session feats. pianist Frans Elsen, bassist Victor Kaihatu, & drummer Eric Ineke. Limited 2CD includes an elaborate booklet w/ photos, liner notes, essays, & interviews.

https://www.amazon.com/Huracan-Cal-Tjader/dp/B0BSH9G3CQ/ref=sr_1_149?qid=1678287215&refinements=p_n_date%3A1249114011&rnid=1249111011&s=music&sr=1-149

September 16, 2023 in Austin. How does one buy tickets? SHAKTI ANNOUNCE NORTH AMERICAN TOUR Edit: Just realized that day is Rosh Hashonah, so I can't go. Sigh.

Ernie Wilkins is a very underrated arranger. And Ray Brown is no slouch.

Release date April 7: Already during Basie's lifetime, some of his most loyal followers formed the All Stars. The alto-saxophonist Marshall Royal, Basie's eternal concertmaster, took the lead in this. (Marshall probably played the same role for Basie as Johnny Hodges did for Duke Ellington. He passed away in 1995). The musicians performing that evening had for many years, some (like Royal) even for decades, co-fathered and influenced the Basie-effect, so important for the history of big bands in swing. Both trumpeters represent the different concepts that were always present side by side in Basie's orchestra: relaxed elegance (represented by Harry Edison, whom the world of jazz called Sweets for obvious reasons), and the hands-on severeness of Joe Newman. Besides Royal, who had always been one of the breathing jazz saxophonist like Coleman Hawkins or Ben Webster, here at the Fabrik the Kansas-City-veteran Buddy Tate and Billy Mitchell, who was more at home in modern bebop, invoke two other aspects of the Basie-universe. Benny Powell rounds out the spectrum of the wind section. As always in Basie's band (and also here) it manifests itself in full-bodied arrangements, and by supporting the soloists in the background. Nat Pierce, the pianist, delicately adapts to Basie's consistent frugality and restraint. Bassist John Heard and drummer Gus Johnson establish the rhythm-dimension of Basie's spell, even without the magician Green.

Release date May 15:

Release date April 7: There are millions of tales to be told of life in New York City. In every neighborhood, there are buildings that have witnessed generations of individuals, families, businesses, and organizations utilizing their communal spaces. The inconspicuous townhouse that sits at 64 East Seventh Street in the East Village conceals a hidden history that truly shows the changes of it's famous neighborhood over the building's 150 years of existence. // Writer/lyricist David Hajdu discovered the legacy of 64 East Seventh when the East Village was applying for the status as a historical district in New York City. (The East Village/Lower East Side Historic District was created by The New York City Landmarks Preservation Commission in October 2012.) Spellbound by the stories of the former occupants that he uncovered, Hajdu composed lyrics to a song cycle about the building, which he then entrusted to the capable hands of select composers and performers to bring to life as The Parsonage.

Release date April 21: The phenomenal new studio recording by spiritual jazz shaman Kahil El'Zabar and his legendary Ethnic Heritage Ensemble, ft. Dwight Trible & David Ornette Cherry. This is a tribute to the great spiritual jazz trumpeter & composer Don Cherry, opening up new connections to the wisdom of then ancestors & new spaces onto promising futures. This is spiritual jazz at its finest, dedicated to one of the greatest jazz figures in its history. 1. Don Cherry 05:57 2. Lonely Woman 09:15 3. Evocation 03:38 4. Degi-Degi 08:07 5. Sketches of A Love Supreme 06:42 6. Bop On 05:14 7. Holy Man 04:56 8. Well You Needn’t 06:14 9. The Opening 07:33 10. Harvest Time 07:28 11. Spirit Gatherer 10:33

Release date May 12: Callen Radcliffe Tjader, Jr., the master of Latin rhythms, was born of Swedish descent in St. Louis on July 16, 1925. He first attracted national attention when he joined the Lionel Hampton band. Cal played and recorded with several of Dave Brubeck's groups, and led his own band for a brief period, before joining George Shearing in 1952. It was during the Shearing period that Cal developed what was to become a lifelong love affair with Latin music. In 1954, Cal reformed his band and began a highly successful touring and recording career that resulted in over fifty albums and hundreds of concerts. Probably more than any other non-Latin musician, Tjader helped to popularize the fusion of Latin and jazz tempos. In 1978 he recorded these 6 tracks at the infamous Filmways Wally Heider recording studios in Hollywood, California. At the session was an all-star band including Gary Foster and Kurt McGettrick on saxophones, Robb Fisher on bass and Latin music legends Ponco Sanchez on congas and Willie Bobo on timbales. The recording has been unavailable for many years and now makes its return on CD and digital. Here's what the original album notes say about the session: The sound of the group remained authentically Latin, undiminished in explosive force. This album is characterized by its searing brass and exciting percussions. The insistent beat energized Latin dancers, while the interplay of basic jazz elements raised it above just good dance music. The major goal of this recording was to retain the essential live flavor of the music and performers. Close-miking techniques were not used on this recording. Instead, four overhead microphones plus a direct input for the bass were employed to capture the sound of eleven musicians together with the correct acoustic perspective between instruments. Listening to the playback of the recording session was a rewarding experience for all involved.