This is Ben Sidran's first Hammond B3 organ project. It's an instrument he has played for forty years, and occasionally (as on his recent radio-friendly CD Nick's Bump) featured on recordings. But CIEN NOCHES - the title refers to the fact that over a period of ten years he performed one hundred nights at Madrid's famed Cafe Central - is the first time he has paid direct tribute to the instrument and the club scene it spawned.
The album includes the original songs "Get It Yourself", an acerbic commentary on the rock and roll industry, and "Cave Dancing", an extended parable of jazz and the roots of religion. In addition, it features two Bob Dylan classics, "Gotta Serve Somebody" and "Subterranean Homesick Blues" along with saxophonist Bob Rockwell's "Drinkin' and Thinkin", an obvious party favorite.
Thanks to the 1970s and '80s soul jazz movement and its 21st century counterpart, acid jazz, the Hammond B-3 organ has shown a remarkable ability to survive and adapt to changing musical trends – all without changing its swirling, pulsing tone one little bit. The Hammond Street anthology from Acid Jazz mixes in tracks from a couple of veteran B-3 players like Jimmy McGriff and Reuben Wilson with tracks from newer combos, and even though these newer groups cover songs like Nirvana's "Smells Like Teen Spirit," what is immediately obvious here is how much a B-3 sounds like a B-3 no matter what kind of clothes you drape over it. Highlights include the hard-charging "Itchy Feet" by the Past Present Organisation (which opens the disc), the ragged and energy-overloaded "Clubtown" by the Trashmonkeys, McGriff's "Ain't It Funky" (which indeed it is), and Wilson's "Sugar," a classic piece of soul jazz.
Reissue features the latest DSD remastering and HR cutting. Also features the high-fidelity SHM-CD format (compatible with standard CD players). An excellent piece of early soul-jazz, 1960's Talk That Talk isn't as bop-oriented as Shirley Scott's albums with Stanley Turrentine from the same period, as flashy and ornate as the albums Jimmy Smith was starting to make with Creed Taylor and Lalo Schifrin, or as funky and blues-based as the best of Jimmy McGriff or "Brother" Jack McDuff. Smith's playing on this album is low-key almost to the point of being conservative, deeply soulful without resorting to what would soon become tired funk clichés.
This album is the 4th in Smooth Jazz series produced by contemporary saxophonist and producer Konstantin Klashtorni. Relaxed, enjoyable groovy and romantic tracks is a main feature of his music. This latest release from Konstantin is an excellent addition to any Jazz collection. His artistry is one of the finest out there. His work is fantastic. You will be happy and listen to these albums over and over again without tiring of them. If you like any single release by Konstantin, you will not be let down by his others. He is a true master at keeping your mood on track through his music. His sound is settling and positive without being intrusive to your dealings through your day. Try it you will love it and the other albums of this and other series. Enjoy.
Reissue with SHM-CD format and new 24bit remastering. A very special album from Johnny Smith – one of the few to feature his sublime guitar sound amidst a larger string setting – which only seems to emphasize the moodier, darker tones of his instrument! The album's a lot like his My Dear Little Sweetheart set – and, like that one, it features help from conductor Irv Kostal, as well as violinist Gene Orloff – both artists with the right sort of subtle, understated approach to make sure that Johnny's six strings never get lost in the larger swirl! Most tunes are very slow-moving, which allows us to hear that Smith guitar magic in full relief – that special way that Johnny had of choosing just the right notes and colors, in just the right way.
Contacted by phone at his home just south of San Francisco, Chester Thompson is quick in his response to a question about a record he made in three hours on a Sunday afternoon fifty years ago, Powerhouse. 'I was a young man, and it was an opportunity to show people that I could play a Hammond B-3 organ.' Little did Thompson know then that he was showing people who would place him on an unexpected career path into the whirlwind of pop music.