Don Patterson (1936-1988) wasn't the most distinctive organist to follow on the heels of Jimmy Smith's success. But, like Larry Young and Shirley Scott who also played piano first, Patterson was undoubtedly one of the more melodic and lyrical of organ practitioners. What's more, while his more popular peers ventured into soul jazz, funk and pop, Patterson stayed firmly rooted within the bop tradition. He recorded a whopping 15 albums for Prestige between 1964 and 1969, then recorded only five more for the Muse label until his final 1978 album, recorded a decade before his death.
Jean-Joseph Cassanéa de Mondonville, violinist of the royal chapel and just a bit younger than Rameau, is one of those French composers of the late Baroque generally relegated to the summary paragraph in historical surveys. His music is not terribly common on recordings, and the Brilliant label's resurrection of this late-'90s recording on Archiv, despite dreadful sound, is welcome.
Although Albert King is pictured on the front cover and has the lion's share of tracks on this excellent compilation, six of the fourteen tracks come from Rush's shortlived tenure with the label and are some of his very best. Chronologically, these are his next recordings after the Cobra sides and they carry a lot of the emotional wallop of those tracks, albeit with much loftier production values with much of it recorded in early stereo. Oddly enough, some of the material ("All Your Love," "I'm Satisfied [Keep on Loving Me Baby]") were remakes – albeit great ones – of tunes that Cobra had already released as singles! But Rush's performance of "So Many Roads" (featuring one of the greatest slow blues guitar solos of all time) should not be missed at any cost.
Tango accordion has a clear icon in the late Astor Piazzolla, but these days Richard Galliano is making a strong case for being the premier jazz accordionist. He's as lyrical as one needs, swings like mad, or brings tempos down to a sensual jog with passion and soul. When called upon, he can play a gut-wrenching tango or two himself. For this effort he's joined by two different crack rhythm sections, the brilliant Jean-François Jenny-Clark and Daniel Humair (seven tracks), or the slightly cut below Remi Vignolo and Andre Ceccarelli (four tracks), bass and drums respectively. It's not hard to hear a distinctly French but improvisationally Americanized sound. The lone standard, "You Must Believe in Spring", is one of many waltzes, but this one jumps from second to fifth gear, Galliano rapidly flying through the changes. The title track is also quick, with "Augusta" more a sprightly 3/4, while "L'Envers du Décor" is an easier modal three beat. Nods to Brazilian Hermeto Pascoal are heard on his composition "Bébé" and the mallets on drums and heavy conga beat-based fanfare and theme of "Passarinho".
Offered at auction with no reserve, serial number 0940 from Classic Records limited edition Deluxe 1S Edition set of audiophile grade re-issues of 10 RCA Living Stereo LPs. The sound quality of these Classic Records re-issues is legendary. All 10 LPs are brand new, still in the original sealed outer sleeves. Each bears a serial number label as on the box, showing the number 0940.
Made up of Italian and American musicians alike, this little-known quintet from Milan managed to blend together pulsating African rhythms and jazz-rock with interesting results. They recorded one album in 1976 as well as a single, "Make Up", that was used as the theme for a late 70's Italian TV show ("3 Pezzi Facili"). Among other musicians, the band featured sax player Renato Rivolta of Stormy Six and Come Le Foglie as well as guitarist/bassist Attilio Zanchi who has remained in the professional jazz circuit and is still considered one of the best Italian upright bass players…