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Guitarist Mel Brown is hailed as "An Impulse! Discovery" on Chicken Fat, his debut for the label, and this album does feature a fantastic unique sound. Brown played in the bands of T-Bone Walker and John Lee Hooker, and has an aggressive (though not harsh) single-string picking style. For this date he is paired with either Herb Ellis or Arthur Wright on guitar, Gerald Wiggins on organ, and Brown's regular rhythm section of Paul Humphrey on drums and Ronald Brown on electric bass. There are a couple tracks that are played as pretty straight blues, but this is a hoppin' soul-jazz date. The tunes are bouncy and funky, and Brown's playing is a real treat. His bluesy, almost reckless soloing gives a vastly different flavor that the playing of guys like Grant Green or Melvin Sparks. Gerald Wiggins' organ playing is cool and swinging, and the electric bass of Ronald Brown makes this album about as funky as Impulse ever got. Both Herb Ellis and Arthur Wright get some solo space as well, with Ellis sounding quite interesting playing an unamplified 12-string on a couple cuts. Brown gets some nice tones as well, and on "Hobo Flats" plays "an electronic guitar with Wah-Wah distortion" (remember, this is 1967 jazz) "that gives a weird shimmering sound," according to the liner notes. Leave it to Impulse! to put a new spin on the guitar/organ sound. This is hot stuff. ~ Sean Westergaard
Recorded in Hollywood, California in May-June 1967. Originally released on Impulse Records (9152).
Personnel: Mel Brown (guitar); Oliver Nelson (arranger); Herb Ellis, Arthur Wright (guitar); Gerald Wiggins (organ); Ronald Brown (bass); Paul Humphrey (drums).
Mel Brown Chicken Fat Songs Chicken Fat Review
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Purchase Chicken Fat CD To buy, Click on price to add to cart | Archie Shepp Cry Of My People CD (1973) Remastered; Digipak
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Recorded in 1972 with a core band of Leroy Jenkins, Cornell Dupree (!), Jimmy Garrison, and Charles McGhee, Shepp supplemented these proceedings in much the same way he did with the cast of Attica Blues, with gospel singers, big bands, quintets, sextets, and chamber orchestras, with guests that included Harold Mabern on piano, Bernard "Pretty" Purdie on drums, and Ron Carter on electric bass! Recorded during a period in which Shepp was reaching out of the jazz idiom to include all of what he perceived to be "trans-African" music at the time, there is gutbucket R&B here, as well as the sweetly soul gospel of "Rest Enough." The charts' arrangements are a combination of Ellington's more pastoral moods -- usually expressed in his suites -- and the more darkly complex modal stylings of George Russell. Unlike some of Shepp's dates from this period, the vocals do not detract from the mix employed here. This is an urban record that showcases Shepp's ability, at this time in his career, to literally take on any project, combine as many sources as he was permitted by his financial resources, and come up with something compelling, provocative, and soulful. All extremes are subsumed by the whole: The avant-garde free jazz of the period is covered in the large-ensemble playing, ...
| | Clark Terry Spanish Rice CD (1967) Remastered; Digipak
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Clark Terry joined forces with Cuban bandleader Chico O'Farrill for these 1966 studio session, which consist almost exclusively of Latin tunes. Although there are a number of all-stars present in addition to Terry, including trumpeters Joe Newman, Ernie Royal, and Snooky Young, along with guitarists Everett Barksdale and Barry Galbraith, the solos are all by Terry, so there is little interaction in these brief charts. Terry is in top form, as always, with his rich flügelhorn in "Angelitos Negros" and ...
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| | Gloria Coleman Soul Sisters CD (1963) Remastered; Digipak
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One probably doesn't hear the name Gloria Coleman thrown around quite as often as other organists of the day. Similarly, the Impulse! label wasn't particularly known as a home for organ combos, but perhaps that's what makes this title the underappreciated gem that it is. Soul Sisters, in retrospect, would have probably made more sense as a Blue Note release, as it has much more in common with sessions like Freddie Roach's Good Move or John Patton's Along Came John than much of the Impulse! catalog. There are a couple of reasons for this. First of all, though they both worked for other labels as well, guitarist Grant Green and engineer Rudy Van Gelder -- both present on this session -- are virtually synonymous with the Blue Note sound. Green in particular, with his distinct style and patented licks, makes it easy to forget that you aren't listening to any number of different Blue Note titles. Both he and alto saxophonist Leo Wright are in fine form throughout. Unfortunately, fans expecting the blistering maelstrom of a Jimmy Smith/Art Blakey set or the syrupy blues of a John Patton/Ben Dixon session might find themselves a bit underwhelmed. ...
| | Ahmad Jamal Chamber Music Of The New Jazz CD (1955) Reissue; Remastered; Digipak
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Verve should be endlessly praised for reissuing superb albums like Ahmad Jamal's CHAMBER MUSIC OF THE NEW JAZZ on CD, bringing them back into commercial circulation so that jazz fans old and new can experience (or re-experience) their splendor. While the set list of 1955's CHAMBER MUSIC may appear standard, with treatments of "It Ain't Necessarily So" and "A Foggy Day" (Jamal's fine original "New Rumba" is the exception), there is nothing "standard" about this excellent session, in conception, sound, or execution.
Both "chamber music" and "the new jazz" are appropriate appellations. ...
| | Complete Norman Granz Jam Sessions CDs (2004) Remastered; Box Set
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This deluxe 5-disc box set contains the complete NORMAN GRANZ' JAM SESSION original LP series #1 through #9.
One of the most influential men in jazz, Norman Granz was not even a musician. However, the famed impresario provided invaluable performance opportunities for jazz artists, raising the public profile of many who knew him. Presented on five discs, these jam sessions--which were scheduled and supervised by Granz--feature some of the very best ...
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Liner Note Author: Diz Heller.
| | Primal Scream Riot City Blues CD (2006) Bonus Track; Japan
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On 2006's RIOT CITY BLUES, the revered U.K. alternative-rock band Primal Scream acts as if its late-1990s/early-2000s foray into electronica was nothing but a vivid dream, opting instead to pick up where '94's Stones-worshiping GIVE OUT BUT DON'T GIVE UP left off. With production handled by former Killing Joke bassist Youth and violinist Warren ...
| | Latin CDs (2007) (Import) Import; Boxed Set
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