| | Putumayo Presents Kermit Ruffins CD Kermit Ruffins Discography of CDs
New Orleans Trumpet Player
Personnel: Kermit Ruffins (trumpet).
Dirty Linen (p.59) - "Surrounded by blaring trombones, wailing clarinets, plinkin' pianos, rumbling tubas, and cluckin' banjos provided by New Orleans' finest, every moment is a memorably precious one." Putumayo Presents Kermit Ruffins Music Putumayo Presents Kermit Ruffins Songs | 1. | Ain't Misbehavin' |
| 2. | Monday Night in New Orleans |
| 3. | On the Sunny Side of the Street |
| 4. | After You're Gone |
| 5. | Wrap Your Troubles in Dreams |
| 6. | Goodnight |
| 7. | Leshianne |
| 8. | When My Dream Boat Comes Home |
| 9. | Kermit's Second Line |
| 10. | Bye and Bye |
| 11. | Do the Fat Tuesday - (live, bonus track) |
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Putumayo Presents Kermit Ruffins Review
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Purchase Putumayo Presents Kermit Ruffins CD To buy, Click on price to add to cart | Gerald Wilson Detroit CD (2009)
Putumayo Presents Kermit Ruffins
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.
Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the childish blues "Freddie ...
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Although the plaudits for Melody Gardot's debut album, WORRISOME HEART, were entirely justified, it sometimes seemed as if the young singer-songwriter's compelling personal story--hit by a car and severely injured at the age of 19, the aspiring fashion designer began playing piano and writing songs as part of her physical therapy--overshadowed her music. Gardot's second album, MY ONE AND ONLY THRILL, dispells that sense entirely: this gorgeous collection of lavishly orchestrated jazz-pop ballads is the work of a genuinely talented singer-songwriter. Gardot's melodic sense is greatly matured: opening track "Baby I'm A Fool" and "Lover Undercover" have the ...
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Recording information: Henson Recording Studios, ...
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ON THE CORNER enjoys a special cult status among musicians, anticipating as it does the punk funk/acid jazz movements. For Miles Davis, ON THE CORNER was another seismic shift. Miles was particularly fond of the lyric sweep of Hendrixian electric guitar, the James Brown-like rhythmic thump of Fender bass, and the bell-like timbre and chordal possibilities of the Fender/Rhodes electric piano. Now the trumpeter sought to incorporate the feel of street rhythms from around the world and to reflect the influence of modern electronic composers such as Karlheinz Stockhausen.
So while ON THE CORNER is generously populated with top-flight jazz players, Davis was zeroing in on a contemporary approach not beholden to jazz players of jazz rhythmic postures--although group improvisation is still very much the order of the day. In paving the way for his Afro-psychedelic working bands of the mid-70's, Davis was roundly dissed, but ON THE CORNER endures brilliantly--the dark lady of Miles' ...
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Music Of Jimmy Mchugh
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Track Listing of songs: Cotton Mill Blues; Down on Penny's Farm; Miner's Blues; Wish I Had Stayed in the Wagon Yard; How Can a ...
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Released later in the same year as their debut, this 1972 album was the band's final. The punningly-titled band (an English pronunciation of the French translation of Robert Wyatt's previous band, Soft Machine) broke up just after it was issued. This outing is a bit more experimental than ...
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