| | Amos Milburn 1947 CD - Import Amos Milburn Discography of CDs
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Over the years the Classics label have done an admirable job reissuing rare jazz sessions in chronological order with great sound quality and informative liner notes. They are also dedicated to applying that same care to their outstanding Blues and Rhythm Series. This particular set features 26 tracks recorded by boogie pianist Amos Milburn from 1947, the second year of his tenure with Aladdin Records. This is highly recommended for anyone who can't get enough classic jump blues. ~ Al Campbell
Recording information: Los Angeles, CA (10/27/1947-12/18/1947).
Track listing: WHAT CAN I DO / BYE BYE BOOGIE / POT LUCK BOOGIE / IT'S A MARRIED WOMAN / MY TORTURED MIND / DON'T TELL HER / HOLD ME BABY / CHICKEN SHACK BOOGIE / RAPTURE IN BLOOM / HARD DRIVING BLUES / I'M GONNA LEAVE YOU / I LOVE HER / POOL-PLAYING BLU
Personnel: Amos Milburn (vocals, piano); Gene Phillips (guitar); Maxwell Street Jimmy Davis (tenor saxophone).
Liner Note Author: Dave Penny.
Amos Milburn 1947 Songs | 1. | What Can I Do? | |
| 2. | Bye Bye Boogie | |
| 3. | Pot Luck Boogie | |
| 4. | It's a Married Woman | |
| 5. | My Tortured Mind | |
| 6. | Don't Tell Her | |
| 7. | Hold Me Baby | |
| 8. | Chicken Shack Boogie | $0.99 | |
| 9. | Rapture in Bloom | |
| 10. | Hard Driving Blues | |
| 11. | I'm Gonna Leave You | |
| 12. | I Love Her | |
| 13. | Pool-Playing Blues | |
| 14. | Hen Party | |
| 15. | Rocky Road Blues | |
| 16. | Lonesome for the Blues | |
| 17. | Slow Down Blues | |
| 18. | Anybody's Blues | |
| 19. | It Took a Long, Long Time | |
| 20. | Wolf on the River | |
| 21. | I Still Love You | |
| 22. | Frank's Blues | |
| 23. | Empty Arms Blues | |
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1947 Review
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Purchase 1947 CD To buy, Click on price to add to cart | Amos Milburn 1946-1947 CD (2002)
1947
 $18.05 
Amos Milburn was born in Houston, TX, on April 1, 1927. After serving in the Navy during the Second World War, the young pianist began performing publicly in a style derived directly from his heroes Albert Ammons and Pete Johnson. While leading a small band at San Antonio's Keyhole Club, Milburn was discovered by Lola Anne Cullum, a talent scout working for the Los Angeles-based Aladdin record label. Soon after hiring Milburn, Cullum would also sign and record a pair of fine bluesmen from Houston, Wilson "Thunder" Smith and Sam "Lightnin'" Hopkins. Milburn was only 19 years old when he made his first records. This compilation documents everything he recorded between September 1946 and October 1947. As the musicians in his regular working band were considered too green to appear on records, Milburn was provided with a small backing ensemble composed of players whose names have since been forgotten, although tenor saxophonist Maxwell Davis was in charge of the group and is believed to have performed on the sides cut in 1947. The slow, soulful, and bluesy instrumental "Real Gone" ...
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Conte Candoli (trumpet); Victor Feldman (vibraphone); Emil Richards (marimba); Keith Mitchell (bass); Earl Palmer, Stan Levey (drums).
Originally released on Reprise (6019), Reprise (6049) & Reprise (6073).
This double CD is more about Barney Kessel the studio player than Kessel the jazz guitar legend. Still, this compilation of three LPs originally released between 1961-1963 has some good music, and Kessel the jazz man is not entirely absent, even though the settings do not call for him to stretch out.
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Composer and arranger Gary McFarland was well-known in the 1960s for his film-scoring abilities and his charting skills with mid-sized bands. McFarland was also, however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. This project features Kuhn in the center of a program made up entirely of McFarland compositions, all but two of which were written specifically for the album. Recorded in 1966, it is an anomaly in the Impulse catalog of the time in that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year. It is also significant that it caught the attention of a young Manfred Eicher, who later signed Kuhn to his ECM label based on the strengths of this recording. Like Keith Jarrett, Kuhn is in the pointillist school of jazz pianists of the era. Unlike Jarrett, Kuhn does not consider force in his attack as necessary as his labelmate does. Instrumentally, Kuhn's customary trio situation -- which is dutifully performed with zeal by Ron Carter and drummer Marty Morell -- is augmented with a string quartet on half the record, and with a wind trio with harp on the other half. The tracks on Side One are, in some ways, less revolutionary yet more fulfilling, because Kuhn is clearly at home with the sonorities afforded by the strings. They don't swing, even on ...
| | Count Basie At Newport CD (1957) Bonus Tracks; Reissue; Remastered; Deluxe Edition
1947
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Originally released on Verve (6024). Includes liner notes by Richard Sudhalter.
By the time of this 1957 recording, the Basie band was enjoying something of a renaissance, and the appreciation of the audience for this legendary musician helps make this live recording all the warmer. This was a special night for the band, as it represented a coming together of the contemporary Basie assemblage with some of the original Kansas City veterans. Entrepeneur John Hammond, who helped bring Basie to national attention in the '30s, warmly introduces the band one by one, stressing the importance of each member.
Thad Jones, Frank Foster and company lay down a solid version of "Swingin' At Newport," after which they are joined by one after another ...
| | Wes Montgomery Full House CD (1962) Bonus Tracks; Remastered
1947
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Digitally remastered by JVC using XRCD (Extended Resolution Compact Disc) technology.
For starters, it is impossible to go wrong with the personnel on FULL HOUSE. With a rhythm section comprised of alumni from Miles Davis's first quintet (Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums) and the blazing tenor saxophone of Johnny Griffin complementing Wes Montgomery's bop leads on guitar, listeners will know they are in for a wild ride even before the album begins. Add to this an enthusiastic audience in a Berkeley jazz club in 1962 (where the performance was recorded), and one has a full house in more ways than one.
Post bop with a soulful, bluesy edge is the flavor of the day here, and ...
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| | J J Cale Really CD (1972)
1947
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After his stunning debut, NATURALLY, in 1971, J.J. Cale returned the next year with this follow-up. REALLY is every bit as impressive as its predecessor, and occasionally swings so slowly that its grooves barely hang together. But to call J.J. Cale simply laid back is to miss the point--the breadth and variety in Cale's world is mysterious, riveting and soulful.
The first three tracks move from the radio-friendly "Lies" to the masterfully spare "Everything Will Be Alright" to the relatively rollicking "I'll Kiss the World Goodbye." The album was recorded in Nashville (primarily at Bradley's Barn) as well as in Muscle Shoals, Alabama (at the famed Muscle Shoals Sound Studio). A cast of stellar musicians familiar to those sites (including Roger Hawkins, Barry Becket, David Hood, Charlie McCoy, Norbert Putnam, Vasser Clements, and others) never overshadows the well-defined sound of Cale's songs and singing. This is a perfect introduction to J.J. Cale.
Cale's sophomore album from 1971 was a logical successor to his outstanding debut. Cale's laid back style was widely appreciated, as evidenced by the radio success of "Lies". This album was recorded in Nashville and at the famed Muscle Shoals Studios in Alabama. Backing musicians include Roger Hawkins, Barry Beckett, David Hood, Charlie McCoy, Norbert Putnam (who would later produce Dan Fogelberg), Vasser Clements and more.
Composer: J.J. Cale.
Personnel: J.J. Cale (vocals, guitar); Norman Ray (bass voice, baritone saxophone); Mac Gayden (guitar, slide guitar); Bill Boatman, Jimmy Capps, Jimmy Johnson (guitar); Josh Graves (dobro); Vassar Clements (violin, fiddle); Charlie ...
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