In the 1950s, during the explosive birth of rock & roll as we know it, Chuck Berry was the man – lean and mean, with self-penned hits like "Roll Over Beethoven" and "Johnny B. Goode" motorvating his fast-lane machine. In 1986, in honor of Berry's sixtieth birthday, a concert was assembled at St. Louis' Fox Theatre – the very place where Berry had been turned away as a boy during segregation, and blocks from the courthouse where, as Berry says, "my forefathers were sold." In front of a ready-to-riot crowd, the concert brilliantly captures Berry's unflagging power as a guitar virtuoso (as well as his audacity in literally duckwalking circles around guest Linda Ronstadt). But what makes this a great film is what happens (on the road, in rehearsals and during interviews) leading up to the concert: Keith Richards, musical director of the celebration, nearly driven to tears by Berry's ball-breaking insistence that Richards bend a note just right; Jerry Lee Lewis' admission that his own mother told him Berry was the true king of rock & roll; a still-gobsmacked Eric Clapton confessing, "I didn't know about black men until Chuck Berry." Fascinating too is watching Berry handle his own business – traveling without backing band or entourage, demanding to be paid what he's worth – thus proving he also pioneered rock & roll's potent DIY ethic. An entertaining document of an original rock & roll immortal, Hail! Hail! is a perfect tribute to a homegrown American genius.
Réalisé par Taylor Hackford
Avec Chuck Berry, Keith Richards, Eric Clapton, Robert Cray, Etta James, Julian Lennon, Linda Ronstadt, Bo Diddley, Don Everly, Phil Everly, Jerry Lee Lewis, Little Richard, Roy Orbison, Kareem Abdul-Jabbar, Johnny Johnston.
Armed with just his "Feels So Good" quintet and occasionally a couple of brass players, Mangione's more grandiose ambitions are pretty much behind him on his final A&M release. The emphasis is almost entirely on spinning pretty tunes for his new mass audience without alienating or challenging it much. Not that this collection is completely soporific or lacking the jazz touch; "Pina Colada" revives things with some uptempo flights for Mangione's flugelhorn and Chris Vadala's tenor, and the title cut is an amiably jumping, if repetitive funk workout for the quintet. The major push, however, went to "Give It All You Got" – another upbeat, optimistic, good-times motivating tool, heard extensively at the 1980 Winter Olympics – and Chuck gives it to us again at a listless tempo with the title, "Give It All You Got, But Slowly." As things transpired, this would be his last halfway decent studio album for at least the next decade.
This import version of Chuck Mangione's A&M hits collection contains three more tracks than its domestic counterpart, as well as his volume in the Universal 20th Century Masters collection. The bottom line when it comes to Mangione's music: his biggest period was in the '70s for A&M, when he had his monster hit "Feels So Good." That one has to be here, but so are other noteworthy (and very successful) singles such as "Land of Make Believe," "Chase the Clouds Away," and the overture for "Children of Sanchez."
This is a bass method book designed to help beginning bassists, or anyone wanting a solid foundation for creating walking bass lines. It covers all the basic principles of walking bass line construction, time feel tips, ear training, and transcriptions of every bass note the author plays on the accompanying play-along CD. Endorsed by Eddie Gomez, Jimmy Haslip, John Goldsby, Ben Allison, etc.