Not that this artist isn't pretty cool; far from it. Credited either as Bob Hardaway or Robert Hardaway, he spent much of the 20th century at the top of the studio musician scene in Los Angeles, playing a bewildering array of woodwind instruments — even bass clarinet, English horn, and alto flute — on a tall stack of records that stylistically give the impression of having been snatched at random out of a burning used record store, the Partridge Family, Dinah Washington, Bonnie Raitt, and his efforts with the Eddie Shu/Bob Hardaway Jazz Practitioners among them.
Die Hamburger Jazzszene ihre Vielfalt und Lebendigkeit bringen so manchen Musikliebhaber zum Schwärmen. Nach dem Zweiten Weltkrieg fanden sich in der Stadt an der Elbe hunderte spielhungriger Bands zusammen, für die bald auch unzählige Auftrittsorte entstanden. Der Cotton Club oder Dennis Swing Club wer kennt sie nicht? Für die Fans des Hamburger Jazz und alle, die mehr darüber erfahren möchten, entstand diese umfangreiche Kollektion. In Wort, Bild und Ton wird der Werdegang einer einmaligen Szene lebendig: von der Zeit, als die Hafenstadt in Trümmern lag, bis hin zum Sound von heute. Sie halten ein Set in Händen, das aus 18 CDs und einem 300 Seiten starken Buch besteht.
Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There's a Whole Lalo Schifrin Goin' On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa's more thoughtful efforts. Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in "Hawks Vs. Doves," in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other.
Contemporary jazz vocalist and songwriter Carol Duboc new release "Colored Glasses" is co-produced by jazz legend Jeff Lorber and featuring Grammy nominated Lorber, Jimmy Haslip, Hubert Laws and Eric Marienthal. Signatures from the band included.
One of the best David Axelrod-assisted albums from the early 70s – a sweet batch of funky cuts with arrangements and backings handled by Axe, and loads of great keyboard lines from the legendary Hampton Hawes! The record really bubbles with the warm and soulful approach Axelrod was using at Fantasy – kind of a step off his stark modern sound at Capitol, but still done with just the right amount of space and appreciation of a funky rhythm. The great Carol Kaye is on bass, and Hawes plays some totally sweeeeeeeet electric keys on the set – really stretching out in ways that are different than some of his acoustic work of a few years before – yet still filled with the same rich sort of imagination. Titles include "Sierra Morena", "Go Down Moses", "Web", "Tune Axle Grease", and "C&H Sugar".
Gene Ammons gets the Cannonball Adderley treatment – as he blows funky solos over an album arranged and conducted by David Axelrod! Brasswind has a larger, fuller funky sound than some of his earlier work for Prestige – and it works very well! The overall sound's a bit smoother, but Axelrod's edge is still quite sharp, and the polished jazzy arrangements still have plenty of funk to around. George Duke is on keyboards and Carol Kaye plays bass – and other players include Snooky Young, Michael Howell, Jim Horn and Kay Migliori. Titles include "Cantaro", "Brasswind", "Cariba", "Rozzie", and "Once I Loved".
Nancy Wilson's not the first name in bluesy jazz (check out Dinah Washington and Joe Williams for that), but she usually can enliven the form with her sophisticated and sultry style. That's made clear on her rendition of "Stormy Monday Blues," where she eschews blues clichés in favor of a husky airiness, at once referencing a lowdown mood and infusing it with a sense of buoyancy. This split is nicely essayed on Capitol's Blues and Jazz Sessions, as half the tracks ooze with Wilson's cocktail blues tone and the other find the jazz-pop chanteuse in a summery and swinging mood. Ranging from the big band blues of "I've Got Your Number" to the lilting bossa nova "Wave," Wilson handles all the varying dynamics and musical settings with aplomb. Featuring cuts from her '60s prime with the likes of Cannonball Adderley, Oliver Nelson, George Shearing, Gerald Wilson, and a host of top sidemen, this best-of disc offers a fine, off-the-beaten-path overview of Wilson's Capitol heyday.