Groove great Kenny Burrell and Jimmy Smith (Hammond organ) together on the same album. Includes a rendition of "Fever." Three days of spare studio time while Smith was at work on a big-band date led to this highly enjoyable blowing session. The principals' interplay on the title-track sums up their whole musical relationship: punchy, bluesy but soaked in the good homour of playing for kicks.
This auspicious recording started out almost as an afterthought. Jimmy Smith was in the midst of making his excellent big-band album ANY NUMBER CAN WIN when he stepped into a couple of New York studios with old pal Kenny Burrell and a rhythm section to quickly cut the sides that became BLUE BASH. The air of spontaneity is certainly present here, as Burrell and Smith use the common language of the blues to move through a varied program.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. One of Stanley Turrentine's few organ-based sessions for Blue Note – recorded in the company of his lovely wife Shirley Scott, who was really a cooker on the Hammond! The album's got a much stronger sound than most of Shirley's own from the time – played by a solid group that includes Kenny Burrell on guitar, Bob Cranshaw on bass, and Otis Finch on drums. Tracks include "Trouble No 2", "Goin Home", "Ladyfingers" and "The Hustler".
Jowee Omicil is a jazz artist unlike any you've heard before. He brings a novel and distinctly Afro-Haitian perspective to his music. Omicil's melodic storytelling blends flavors from his Creole roots with gospel, soul, hip-hop and folk, not to mention nods to the masters - from Charlie Parker to Ornette Coleman. Let's BasH!, Omicil's fourth album, is both a cry of war and a declaration of love - but above all, it's a symbol of his mission to expand the popularity of jazz.
In this bright and accessible effort from one of the best young trumpeters on the scene, Printup mixes up originals with standards. The fact that his tunes complement works by Rodgers & Hart ("Have You Met Miss Jones") and Fats Waller ("Ain't Misbehavin'") so well should key you in to the fact that he is a bit of a traditionalist. With his quartet of Kevin Bales on piano, Ricky Ravelo on bass, and Woody Williams on drums, Printup lays down some fine exercises in samba ("Shertzing Along") and bop ("Pier Pressure"). There is plenty of fine work here.
Duke Robillard pays homage to T-Bone Walker with this collection of swing, big band and blues songs. The bubbly and bouncy "Lonesome Woman Blues" has a be-bop Count Basie feeling as his supporting players are given brief solos to shine, particularly the horn section. There is far more substance and style to this approach than a rehashed run-through à la Brian Setzer. This fluidity continues, albeit a bit slower in tempo with the swinging "T-Bone Shuffle" which carries the same head-bobbing groove. Here the horns lead the way but Robillard makes his presence felt on guitar near the homestretch, and throughout the stellar "Pony Tail." The barroom blues and drum brushes on "Love Is a Gamble" takes things down to a creepy crawl, bringing to mind Dr. John or Delbert McClinton. An early favorite has to be the rousing and toe-tapping "Alimony Blues," an indication that Robillard wants to pay tribute in the right way by nailing each song beautifully.