This pair of 1963 studio sessions by Grant Green remained under wraps until issued as a part of Blue Note's limited edition Jazz Connoisseur series. The guitarist is in fine form, accompanied by organist John Patton and drummer Ben Dixon, starting with a brilliant bop rendition of the popular standard from the Broadway show Oklahoma!, "The Surrey with the Fringe on Top." The soft but intense "Don't Let the Sun Catch You Crying," and Ray Charles' gospel flavored "This Little Girl of Mine" (an obvious reworking of "This Little Light of Mine") are also highlights.
Three Blind Mice Blu-spec CD reissue series. Limited paper sleeve edition. Blues For Tee is the second of the three albums that came out of the legendary Christmas sessions at the Misty, a Tokyo jazz club, which took place on December 1974. The Three Blind Mice producer Takeshi "Tee" Fujii wanted to record Yamamoto before he left for the U.S. to study at Berklee School of Music, and almost all of the performances were so good that he decided to release three LPs instead of one that was originally planned.
This is an excellent record of Sunao Wada (g) feat. Hitomi Ueda (vo), Ushio Sakai (org), Yoshio Ohtomo (as), George Otsuka (ds), Mitsuaki Furuno (b), Takao Uematsu (ts) & more. "Blues for bird" is an amazing TBM (Three Blind Muce) CD. This album records many splendid songs … In particular Charlie Parker's cover "Now's the time" is very groovy Japanese Jazz. This is a Japanese Jazz classics.
This remastered two-fer combines guitarist Mel Brown's second Impulse release from 1968, The Wizard, with Blues for We released the following year. The Wizard is a straight-ahead soul-jazz date picking up where Chicken Fat left off with a few originals alongside funky renditions of “Ode to Billie Joe” and Pee Wee Crayton’s R&B hit of the late '40s “Blues After Hours.” Blues for We relies more on an interesting selection of cover versions ranging from “Ob-La-Di, Ob-La-Da” and “Son of a Preacher Man” to the bubblegum staple by the 1910 Fruitgum Company “Indian Giver” and Acker Bilk’s “Stranger on the Shore,” which was the theme of a BBC television drama. Brown’s guitar work on both sessions is fluid and greasy, as are the funky drum licks, but occasionally, the arrangements drift into superior background music. New liner notes are absent, but the original packaging – front and back cover art and liner notes – remain intact.
The blues has always been spiced with suggestive metaphors. This collection of bawdy blues songs celebrates the off-color blues repertoire. Fred shows you how to accompany yourself singing the songs, and how to fingerpick an instrumental version of each one. His easy-going instructional style, his tips on playing the arrangements, and his slowed-down, split-screen performances of each tune make learning easy. All the arrangements are written out in tab and music as well.
Blues for the Lost boasts an intriguing concept, as it captures John Mayall reminiscing about all the friends, family, heroes, lovers, and places he has loved and lost over the years. The album is startling in its unvarnished autobiographical approach, but the concept doesn't work nearly as well as it should…
"Blues for Salvador" is a 1987 album by Carlos Santana, dedicated to his wife, Deborah Santana. The record was released by Carlos Santana as a solo project, not with the Santana band. It won the 1989 Grammy Award for Best Rock Instrumental Performance, his first Grammy ever.
This 1997 release by Too Slim & the Taildraggers is chock-full of the wide-ranging spectrum of blues in its plethora of styles as done by this fun group in their own inimitable fashion. The thing that always seems to come through on this group's discs is their love of playing. This band is rooted in the blues, but they are not confined to any one style of playing, and the wide-roaming influences of non-commercial radio expose wider and wider varieties of music which burst out all over this disc…
Blues For Greeny is a 1995 cover album by Gary Moore in honour of Peter Green, founder of the band Fleetwood Mac. Gary Moore's tribute to Fleetwood Mac guitarist Peter Green, Blues for Greeny, is more of a showcase for Moore's skills than Green's songwriting. After all, Green was more famous for his technique than his writing. Consequently, Moore uses Green's songs as a starting point, taking them into new territory with his own style. And Moore positively burns throughout Blues for Greeny, tearing off licks with ferocious intensity. If anything, the album proves that Moore is at his best when interpreting other people's material – it easily ranks as one of his finest albums.