A fixture on the southwestern Pennsylvania circuit, Tim Woods has been singing and playing acoustic and electric guitar for over 25 years. Showcasing his distinctive style, in which he plays and picks using his thumb, Tim's prowess is his ability to play both lead and rhythm while interchanging chords and licks...
The mid-to-late Sixties was a strange and difficult time for many Blues men - most were without contracts, forgotten and under-appreciated. Then the Blues boom happened (particularly in the UK) and many had their careers kick-started all over again. Freddie King was no exception. His last album had been for Federal in 1964, but with a new lease of life on the mighty Atlantic label, he produced two much revered LPs in rapid succession. The first was "Freddie King Is A Blues Master" released in 1969 on SD 9004 - and then this peach - "My Feeling For The Blues" on Cotillion SD 9016 released in early 1970.
2002 box-set featuring the Cranberries first four studio albums. Each album has been digitally remastered and features bonus tracks. Four standard jewel cases housed in a slipcase.
Culled from four albums, except for one previously unreleased track, Shuggie's Boogie: Shuggie Otis Plays the Blues is a tour de force made all the more remarkable because the prodigy who produced it was so young. In fact, Shuggie Otis recalls during a boyish spoken intro in "Shuggie's Boogie" how he used to wear dark glasses and paint on a mustache to look older than his 14 or 15 years when he played in bars in the band of his legendary father Johnny Otis. During the same intro he effortlessly throws off guitar impersonations of T-Bone Walker, B.B. King and Elmore James. This compilation has a few rousing, up-tempo numbers, but the highlights are the slow, soulful tunes. One unfortunate omission is the seven-minute "Oxford Gray" from his 1970 album Here Comes Shuggie Otis.
Bob Brookmeyer pioneered playing jazz on the valve trombone, and employed an open-ended approach that embraced both cool and chamber jazz elements. This CD combines two of his finest early period albums from 1960 and 1961, playing standards and originals alongside a stock backup piano/bass/drums trio with Jimmy Rowles, and interpreting the music of Alec Wilder in tandem with guitarist Jim Hall. For the latter date, Brookmeyer goes back and forth between trombone and piano, with drummer Mel Lewis on both sessions.
These distinctive small-group sessions, featuring Duke Ellington as pianist in a blues context, are part of a group of recordings issued under the confusing titles Back to Back and Side by Side, and further reissued under the not particularly distinctive name of Blues Summit. But there should be no confusion about the high quality of music that came out of these sessions – it is all "cooking with gas" as the expression goes. From the jazz world, it would be difficult to find more profound soloists on traditional blues numbers than the Duke or his longtime collaborator Johnny Hodges, who does some of the most soulful playing of his career here.