A great lost chapter in the career of organist Lonnie Smith — a session recorded in the 80s, but done with the simple straightforward soul jazz groove of earlier sides on Muse and Prestige ! Lonnie's working here in a loose and free trio format — with Melvin Sparks on guitar and the great Alvin Queen on drums — rolling out over longish tracks in an open-ended style that almost recalls more of the feel of Don Patterson's great organ trio sides than it does the heavier funk of Smith's early years. The recording quality is great — very faithful to the best tones of the Hammond.
Max Melvin is a duo formed in Hamburg, Germany consisting of Andreas Bruhn and Stefan Rekittke. The pair mostly produce electronica, and in particular downtempo music.
Satellite (2003). It is not very often that the massive lounge and chill-out scene produces artists that are able to develop the potential and qualities to make an album. This is definitely true of Max Melvin, however. Max Melvin are back with their second long player “Satellite”. And, when you hear this excellent eleven-track course in relaxation therapy, you will probably think the producers Andreas Bruhn and Stefan Rekittke are the most relaxed people in the world…
For something less traditional but no less killing, try Melvin Taylor & The Slack Band’s Bang That Bell. A post-Hendrix exercise in funky-blue wah-wah wailing, this one has more allusions to Prince and the Isley Brothers than Muddy and the Wolf. In the course of a single tune (“Another Bad Day”) he can blend jazzy, Wes Montgomery-styled octaves with over-the-top wah-wah work and metalesque speed picking. But in spite of all the virtuosic six-string technique, Taylor can also get up into some nasty real-deal shuffles and earthy funk, as he proves so convincingly on “It’s Later than You Think,” which features some brilliant harmonica playing by Sugar Blue, and on a super-funky updating of the Earl King classic “Trick Bag.” And he digs into a slow blues, “A Quitter Never Wins,” with fangs bared. The closer, “Even Trolls Love Rock & Roll,” is a wild fretboard scorcher featuring guest guitar slinger Eric Gales. A tremendous guitarist and soulful singer, Taylor is a major versatile talent on the crossover blues-rock circuit that includes the likes of Robert Cray, Jonny Lang and Kenny Wayne Shepherd.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. An obscure 80s appearance from bassist Jaco Pastorius – a musician whose style is right at home on this electric set from drummer Brian Melvin! Melvin himself plays acoustic drums and percussion – but there's also a fair bit of keyboard work on the record too – 80-styled elements that really draw a lot from the stepping, melodic bass work of Jaco – who really gets to shine on most numbers, and really gets the album going from a rhythmic perspective. There's a bit of added tabla and bongos from Aushim Chaudhuri, who brings some nice acoustic textures – and the overall feel is kind of in the same territory of some of Jaco's early 80s Warner material. Titles include "Don't Forget The Bass", "Night Food", "Zen Turtles", "For Max", and "Poly Wanna Rhythm".
Chicago-based guitarist Melvin Taylor is a star in Europe, but it may take some time for U.S. audiences to catch on to just how phenomenally talented a bluesman he is. Part of the problem for Taylor may be his own natural eclecticism. He's equally adept playing jazz or blues, but in the last few years, he's forged a name for himself as a blues guitarist with a slew of releases for Evidence Music. Taylor may well be the most talented new guitarist to come along since Stevie Ray Vaughan.
This isn't just a 2-CD set of some unbelievable guitar work from a long-esteemed player of truly formidable skill but rather a treasury that proves beyond doubt that Melvin Taylor needs to be placed within the museum of the guitar greats: Wes Montgomery, George Benson, Chet Atkins, Frank Zappa, Earl Klugh, Jim Hall, Leo Kottke, Robert Fripp, Grant Green, Pat Metheny…all of 'em, regardless of style and genre. And he not only plays all the many layers of various guitars here but bass as well in a nominally foursome format.
is a solid soul-jazz outing that looks to commercial material for the bulk of the set, but doesn't unduly compromise itself in a pop direction. was one of the bluesiest soul-jazz guitarists, and his tart tone shares space here with deep grooves from on organ. The brass, handled by (trumpet) (tenor sax), and (tenor sax), is usually secondary to the guitar-organ riffs. remakes 's and the ' and 's as lengthy instrumentals - commercial choices, to be sure, but executed with relaxed grit. Rounding out the program is a cover and a original. BGP's reissue also includes Sparks' 1972 effort .