Sonny Stitt goes Latin – and the results are tremendous! The set's still got all the soulful feel of the best Stitt sessions for Roost, but it brings in some nice Latin rhythms too – inflecting things with that blend of soul jazz and congas you might find over at Prestige or Blue Note, yet also taking things further, too – given the Roost/Roulette connection to the New York Latin scene! Sonny plays both alto and tenor, and gets jazzy accompaniment from Thad Jones on trumpet – but the rhythm section is the real charmer here – and features a young Chick Corea on piano, Larry Gales on bass, and the trio of Willie Bobo, Patato Valdes, and Chihuaua Martinez on percussion! Most tunes are originals – a great change from the usual Latinized standards you might find on a set like this – and Stitt's got this nicely exotic tone in his reeds which is a further highlight of the record – almost a Yusef Lateef inflection at points.
A great Capitol moment from pianist Paul Smith – an artist who really cut some of his best material ever for the label ! The Smith sound is at the height of its powers here in the late 50s — kind of a blend of jazz and more easy-going pianistic modes — often stretched out with lots of flourishes by Smith on the keys, but never the too-flowery styles used by some of his contemporaries ! Instead, Paul keeps things nice and lean — always enough to be plenty swinging in all the right moments — with quartet help from Barney Kessel on guitar, Joe Mondragon on bass, and Stan Levey on drums.
The most versatile of the R&B-steeped bar bands that played the club circuit in the Pacific Northwest in the early '60s, Paul Revere & the Raiders at their best somehow managed to merge Spike Jones, King Curtis, James Brown, the Byrds, the Beatles, the Beach Boys, the Kinks, and the Rolling Stones into one rollicking pop pastiche. They also had energy, drive, and ambition, and they knew how – and were willing – to play the game. This three-disc, 66-track set collects all of the singles, both A- and B-sides, the group released for Columbia Records between 1963 and 1975.
Alan Bown is most known – certainly in the United States – for his late '60s recordings as leader of a group (actually called the Alan Bown) that played psychedelic pop. The trumpeter had already been recording since 1965, however, with a group called the Alan Bown Set from 1965-1967 in a far more soul-influenced style. This compilation gathers both sides of all five singles the Alan Bown Set released on Pye in the U.K. during that time, along with the seven live songs from the London Swings: Live at the Marquee Club LP they shared with Jimmy James & the Vagabonds, and the French-only single "Jeu De Massacre (The Killing Game)," from the soundtrack of the French film of the same name.
Movie themes, along with songs from Broadway, have long been fodder for jazz musicians. This United Artists LP features Jerome Richardson leading his working quintet during a live engagement, though the venue is unidentified. The extended workout of Duke Jordan's "No Problem" (from the film Les Liaisons Dangereuses) showcases Richardson's robust baritone sax and Les Spann on flute, with the leader adding a tag at the end on piccolo. Richardson switches to tenor sax and Spann to guitar for a rather brisk arrangement of "Moon River." "Tonight" (from West Side Story) is a bit unusual in that it features both musicians on flute.
Trucs de grand-mère, remèdes de bonne femme… En voici répertoriés 999 en un seul ouvrage. Autant parler de 999 secrets qui ont traversé le temps en route sérénité et pour cause ! Alliant bon sens et simplicité, ils sont bien souvent économiques, généralement écologiques et leur efficacité est garantie. Amies de votre quotidien, ces petites merveilles sont également amusantes, surprenantes et parfois carrément magiques. …
Romantic comedy about six of Seattle's young people, most of whom live in the same apartment building and whose lives revolve around the city's ever-expanding music scene.