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Turk Murphy Ragged But Right, Vol. 1 CD

 Turk Murphy Discography of CDs

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Featuring: Pete Clute, cnt, Bob Schilz cnt, Turk Murphy, tbn, Bob Heln, clt & sop, sax, Pete Clute, pno, Bill Carroll, tbs & tbn, John Gill, bjo, 1978-1980. Track Listing: Dr. Jazz, Something For Annie, Temptation Blues, I Am Pecan Pete, The Pearls, This
Ragged But Right, Vol. 1 Music


Detailed Ragged But Right, Vol. 1 Music Information



List Price $15.97 (You save $3.88)
Category Rock/Pop Albums, Jazz CDs, Jazz Instrument, Dixieland
Label GHB
Orig Year 2007
All Time Sales Rank   294551  
CD Universe Part number 7362726
Discs 1
Release Date Mar 20, 2007
Studio/Live Studio
Mono/Stereo Stereo
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In addition to having excellent cover art (an illustrated cityscape in which a giant saxophone--complete with windows, a doorway, and stoop--takes its place among the neighboring buildings), LENOX AVENUE BREAKDOWN is also a dynamic, unjustly overlooked jazz album. Prodigiously talented as an instrumentalist and composer, alto saxophonist Arthur Blythe was one of the most innovative jazz musicians of the 1970s and '80s, and LENOX AVENUE BREAKDOWN, his Columbia Records debut, proves it. Blythe's ability to marry the best of the genre's traditions (he is equally versed in swing, post-bop, and romantic styles) with his avant-garde leanings is ...
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Recorded live in Scandinavia in April 1960. Originally released on Atlantic (2-603). Includes liner notes by Joel Dorn and Jule Foster. Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York). Long considered one of, if not the classic album from the Modern Jazz Quartet, European Concert defines them simultaneously as a recording entity as well as a working band. MJQ presented jazz in the context of a formally structured environment, much like a chamber group in the classical context. Within the band, the groove of Milt "Bags" Jackson's vibes met the solid swing of Connie Kay's drums, the funky strut of Percy Heath's bass, and the elegant classicism of John Lewis's piano. The MJQ were able, in a context that pushed at jazz's boundaries from the outside, to create a music that swung without edges or fragmented harmonic structures. Instead -- as this album perhaps more than any of their studio recordings exemplifies -- they used concepts of time, space, meter, rhythm, and changes to weave together a seamless whole, where melody grounded the improvisation but never really restricted it. ...
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Recorded in 1971. Bonus tracks recorded live at Fillmore East, New York, New York on May 30, 1971. Includes liner notes by Amy Linden. For Nyro, a native New Yorker who grew up on the sounds of girl groups and R&B, GONNA TAKE A MIRACLE was a return to her roots. While she made her name as a visionary songwriter on a par with Joni Mitchell or Neil Young, she was also a gifted interpreter of other people's songs. This is where she proved it, covering classic pop and R&B tunes like "Nowhere To Run," "Spanish Harlem" and "You've Really Got a Hold On Me." As she paid tribute to her influences, she was aided by the soulful backing vocals of LaBelle and the production of Philly soul masterminds Gamble and Huff. With the 1971 release Gonna Take a Miracle, pop composer and vocalist Laura Nyro completed her four-album/four-year deal for Columbia. Nyro's passion for R&B can be traced back to some of her earliest compositions, such as "Wedding Bell Blues" and "Stoned Soul Picnic" -- both of which were covered by the R&B vocal quintet the Fifth Dimension. More recently, her version of "Up on the Roof" was one of the highlights of Christmas and the Beads of Sweat. So, enthusiasts who had paid any attention at all to the course of Nyro's career would not have been surprised by her direction on this project. As much as Gonna Take a Miracle is indeed a Laura Nyro album, it could likewise, and perhaps more accurately, be described as a collaborative effort between Nyro and the female soul trio LaBelle -- featuring Patti LaBelle, Nona Hendryx, and Sarah Dash -- as well as producers Kenny Gamble and Leon Huff. It is ultimately this team that is responsible for the album's overwhelmingly solid results. Leading off in an apropos style is a succulent cover of the Shirelles hit "I Met Him on a Sunday." The vocal performance is structured as a round -- with each woman singing a consecutive line. The song is rightfully returned to the street corner doo wop tradition from which it originated with the simplicity of unadorned vocals creating an inconspicuous a cappella symphony. Nyro has never sounded so comfortable, easy, or "in her element" than she does backed by an all-star Philly soul ensemble that Gamble and Huff assembled for these sessions. The material reaches beyond just the sounds of Philadelphia, with Motown ("You've Really Got a Hold on Me" and "Nowhere to Run") and Brill Building ("Spanish Harlem"), as well as lesser-known covers of the Charts' "Desiree" and the Baltimore-based Royalettes "It's Gonna Take a Miracle." In 2002, Sony/Legacy issued an "expanded and remastered edition" of this album, including four "bonus tracks": "Ain't Nothin' Like the Real Thing," "(You Make Me Feel Like) A Natural Woman," "O-o-h Child," and "Up on the Roof" -- all of which are previously unissued live solo performances. ~ Lindsay Planer 1971 album is Nyro's only album of non-original music including 'Spanish Harlem', 'Monkey Time/Dancing ...
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