Edward Earl Hazel, born 10 April 1950 Brooklyn, NY, was one of the original Parliament / Funkadelic members in the beginning of the 70’s. He’s probably the first lead guitarist to play hard-rock / funk fusion twenty years before Living Colour, Fishbone or the Red Hot Chili Peppers. With great solos like on the legendary « Maggot brain », it is obvious that Eddie Hazel is the biggest funk guitar-hero and his influence on other funk guitarists is indeniable. His involvement with the George Clinton posse became less preeminent in the 80’s when P.Funk turn more electro-funk oriented and after some drug problems Eddie Hazel died on 23 december 1992 at the age of 42. funkstore.com
At a time when urban radio was obsessed with the hip-hop-minded new jack swing of Bell Biv DeVoe, Bobby Brown, and Guy (among others), Charles & Eddie turned to pre-1980 African-American music for inspiration. The male vocal duo's first album, Duophonic, owes a major debt to the classic Northern soul of the '60s and '70s...
Charlie Sepúlveda is trumpeter of power and nuance. On this recording, Sepúlveda takes on the challenge of preserving culture without being trapped by it.
He can take a tried-and-true classic like "Besamé Mucho," and instead of falling into the routine he completely modernizes it, stripping the tune of his sometime over-emphasized bolero rhythm and makes something completely new and communicative.
This Fantasy 2001 two-fer reissue features saxophonist Eddie "Lockjaw" Davis in session with a quintet that includes the Shirley Scott trio (Scott, organ; George Duvivier, bass; Arthur Edgehill, drums) and conga player Ray Barretto. It was released as Eddie Lockjaw Davis Meets Shirley Horn as Moodsville 30 in 1960. With the exception of a quartet recording released on Stompin' (Prestige 7456), the rest was another quintet with pianist Horace Parlan, drummer Art Taylor, Buddy Catlett on bass, and Willie Bobo on conga, issued as Goin' to the Meetin' in 1962 as Prestige 7242.
An elegant and sophisticated pianist, his encyclopedic harmonic approach and wide range of his repertory made him one of the most distinctive jazz pianists to come out of Chicago, gaining the respect of local and visiting musicians for his notable mastery of the instrument.