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25 julio 2019

Timeless Classic Albums Sonny Rollins - Vinylogy VinylReplica Cd Collection 5d's.2018

Sonny Rollins

Timeless Classic Albums - 2018 - Sonny Rollins [5d's Flac]


DOL - Vinylogy VinylReplica Cd Collection





  • 1958-Freedom Suite [Vinylogy.Cd.Flac]

https://elcieloyeldedo.blogspot.com/2019/07/oscar-pettiford-trail.html


  • 1956-Saxophone Colossus [Vinylogy.Cd.Flac]



  • 1956-Sonny Boy [Vinylogy.Cd.Flac]

  • 1962-The Bridge [Vinylogy.Cd.Flac]





  • 1956-Thelonious Monk-Brilliant Corners [Vinylogy.Cd.Flac]
https://elcieloyeldedo.blogspot.com/2019/07/oscar-pettiford-trail.html





*  *  *

Sonny Rollins  Saxophone Colossus

 - 1956 - 



Timeless Classic Albums
Sonny Rollins 5d's [Flac]

DOL - Vinylogy - 2018
Vinyl Replica Cd Collection
www.vinylogy.ru

Recorded June 22, 1956 by Rudy Van Gelder at the latter's studio in Hackensack, New Jersey
1st pressing with West 50th Street address on both labels and back cover

Bass – Doug Watkins
Drums – Max Roach
Piano – Tommy Flanagan
Tenor Saxophone – Sonny Rollins

Recorded By – Van Gelder
Liner Notes – Ira Gitler
Mastered By – RVG
Supervised By [Supervision] – Bob Weinstock
Cover – Hannan

Comentario:

En The Guardian - "Their Favourite Albums"
por John Fordham
https://www.theguardian.com/music/musicblog/2011/aug/30/brilliant-corners-thelonious-monk

First published on Tue 30 Aug 2011 16.00

[. . .] When I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean. [. . .]


Listado de Temas:


Lp Side A

01 - St. Thomas - 07:19 min.
Composición de: Sonny Rollins 


02 - You Don't Know What Love Is - 07:00 min.
Composición de: Gene de Paul, Don Raye 


03 - Strode Rode - 05:39 min.
Composición de: Sonny Rollins 


Lp Side B

04 - Moritat - 10:49 min.
Composición de: Kurt Weill, Bertolt Brecht 


05 - Blue 7 - 12:11 min.
Composición de: Sonny Rollins


5 Temas. Tiempo Total: 00:42:58
flac @ 624 - 188,53 MB
RipPor: Napi#19
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Reseñas: 

Saxophone Colossus is a studio album by American jazz saxophonist Sonny Rollins. It was recorded on June 22, 1956, with producers Bob Weinstock and Rudy Van Gelder at the latter's studio in Hackensack, New Jersey. Rollins led a quartet on the album that included pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach. Saxophone Colossus was released by Prestige Records to critical success and helped establish Rollins as a prominent jazz artist.


Portada edición francesa

In 2017, Saxophone Colossus was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant.


Diversas portadas en europa

Studio album by Sonny Rollins
Recorded June 22, 1956
Studio Van Gelder Studio in Hackensack
Released 1956/1957
Length 39:58
Genre Hard bop
Label Prestige
Producer Bob Weinstock, Rudy Van Gelder

There are five tracks on the album, three of which are credited to Rollins. "St. Thomas" is a calypso-inspired piece named after Saint Thomas in the Virgin Islands. The tune is traditional and had already been recorded by Randy Weston in 1955 under the title "Fire Down There". (In the booklet provided with the boxed set, The Complete Prestige Recordings, Rollins makes it clear that it was the record company that insisted on his taking credit.) In any case, the piece has since become a jazz standard, and this is its most famous recorded version.

The final track, "Blue 7," is a blues piece, over eleven minutes long. Its main, rather disjunct melody was spontaneously composed. The performance is among Rollins' most acclaimed, and is the subject of an article by Gunther Schuller entitled "Sonny Rollins and the Challenge of Thematic Improvisation". Schuller praises Rollins on "Blue 7" for the use of motivic development exploring and developing melodic themes throughout his three solos, so that the piece is unified, rather than being composed of unrelated ideas.

The original 22 June 1956 session was recorded by Rudy Van Gelder. A CD version, mastered by Steve Hoffman, was released in May 1995 by DCC Compact Classics; no additional performances were included. Another remastered version, this time by Van Gelder, was released on 21 March 2006. The album's title was devised by Prestige Records' in-house publicity director Robert "Bob" Altshuler.

Independent sources have differed in their reporting of the album's release date. According to The Mojo Collection, it was released in the autumn of 1956, and AllMusic also lists that year as the one of its release, while an August 1957 issue of Billboard magazine listed the album among records released in the period between March 16 and July of that same year. Reviewing in April 1957, Billboard said "Rollins' latest effort should really start musicians buzzing", as "the tenorman is one of the most vigorous, dynamic and inventine of modern jazzmen", and "everytrack is packed with surprises, tho Rollins develops each solo with great architectural logic". Ralph J. Gleason reviewed the album later in June for DownBeat, writing: "Almost as if in answer to the charge that there is a lack of grace and beauty in the work of the New York hard-swingers comes this album in which Rollins displays humor, gentleness, a delicate feeling for beauty in line, and a puckish sense of humor. And all done with the uncompromising swinging that has characterized them all along."

In a retrospective review for AllMusic, Scott Yanow called Saxophone Colossus "arguably his finest all-around set", while German musicologist Peter Niklas Wilson deemed it "another milestone of the Rollins discography, a recording repeatedly cited as Rollins' chef d'oeuvre, and one of the classic jazz albums of all time".

The Guardian
https://www.theguardian.com/music/musicblog/2011/aug/30/brilliant-corners-thelonious-monk

My favourite album: Brilliant Corners by Thelonious Monk
Guardian and Observer writers are picking their favourite albums – with a view that you might do the same. Here, John Fordham examines the brilliant corners of Thelonious Monk

First published on Tue 30 Aug 2011 16.00 
John Fordham

When I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean.

Brilliant Corners, recorded for the Riverside label in 1956 with an A-list band including saxophonist Sonny Rollins and former Charlie Parker drummer Max Roach, was the most compositionally ambitious session in the former church pianist's decade-long jazz career thus far. In a legendarily fractious session, the title track's growling theme was so treacherous in its lurching phrasing and abrupt time changes that a band this good still spent 25 takes on it, and the final version was only possible by splicing two takes together. But Brilliant Corners was no calculated technical highwire act, but a piece of audaciously adventurous composing that has never lost its power to startle and seduce over the decades.

From Monk's opening stabbed chords (as if he were chipping rock) to the bone-shaking notes, guttural horn harmonies and sudden thematic gallops, Brilliant Corners is gripping – as are the composer's jangling improvisations, and Rollins's lazily unfolding and huge-toned tenor solo. The session's full of captivating variety too – from the urban graininess of Hornin' In to the relaxed groove of Let's Cool One, the surreal mix of Monk's chordal bluntness and the coyness of a glockenspiel on Pannonica to the bleary rootsiness of the wonderful blues Ba Lue Bolivar Ba Lues Are. Arriving just before the late-50s free-jazz upheavals of Ornette Coleman, John Coltrane and Cecil Taylor, this was music that showed just how powerfully song-form harmonies and the tempered scale could be wrenched into new shapes.


Discogs

https://www.discogs.com/Sonny-Rollins-Saxophone-Colossus/release/3934932

Sonny Rollins ‎– Saxophone Colossus

Label Prestige ‎– LP 7079, Prestige ‎– PRLP 7079
Format: Vinyl, LP, Album, Mono 
Land: US Veröffentlicht: Apr 1957
Genre: Jazz Stil: Bop
Trackliste Verberge Mitwirkende

Unternehmen usw.
Record Company – Prestige Records Inc.
Pressed By – Abbey Record Manufacturing Co., Inc.
Printed By – GEM Albums, Inc.
Published By – Prestige Music
Recorded At – Van Gelder Studio, Hackensack, New Jersey


Sonny Rollins   Sonny Boy
1956


Timeless Classic Albums
Sonny Rollins 5d's [Flac]

DOL - Vinylogy - 2018
Vinyl Replica Cd Collection
www.vinylogy.ru




Recorded at Van Gelder Studio in Hackensack, New Jersey on
Track 4 October 5, 1956.
All other selections Recorded December 7, 1956.
Originally released in 1961.

Comentario:
AllMusic critic Scott Yanow states: "Tour de Force is a more logical purchase, although the music on this CD does feature the immortal tenor saxophonist in fine form". 

Personnel:

Sonny Rollins – tenor saxophone
Kenny Dorham – trumpet (backgrounds track 4)
Kenny Drew (tracks 1-3 & 5), Wade Legge (track 4) – piano
George Morrow – bass
Max Roach – drums


Listado de Temas:


01 - Ee-Ah - 06:57 min.
Composición de: Sonny Rollins 


02 - B. Quick - 09:14 min.
Composición de: Sonny Rollins 


03 - B. Swift - 05:19 min.
Composición de: Sonny Rollins 


04 - The House I Live In - 09:25 min.
Composición de: Earl Robinson, Lewis Allen 
Comentario: Piano – Wade Legge
Trumpet – Kenny Dorham 


05 - Sonny Boy - 08:23 min.
Composición de: Al Jolson, Buddy G. De Sylva, Lew Brown, Ray Henderson



5 Temas. Tiempo Total: 00:39:18
flac @ 881 - 246,37 MB
RipPor: Napi#19


1PocodMusica.com
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Reseñas: 

Sonny Rollins ‎– Sonny Boy
Label: Original Jazz Classics ‎– OJCCD-348-2, Prestige ‎– P-7207
Format: CD, Album, Reissue, Remastered 
Land: Germany
Veröffentlicht: 1989 Genre: Jazz - Stil: Bop, Hard Bop

Unternehmen usw.
Copyright (c) – Fantasy, Inc.
Manufactured By – ZYX-MUSIC GMBH
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Remastered At – Fantasy Studios
Mitwirkende
Bass – George Morrow
Design – Don Schlitten
Drums – Max Roach
Liner Notes – Joe Goldberg
Piano – Kenny Drew (tracks: 1 to 3, 5)
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Supervised By [Supervision] – Bob Weinstock
Tenor Saxophone – Sonny Rollins

AllMusic Review
by AllMusic

Recorded in 1956 but issued in 1960, Sonny Boy combines three tracks previously heard on Rollins' 1957 release Tour de Force, omitting two ballads sung by Earl Coleman) with the title track, popularized by Al Jolson in the '20s, and an instrumental version of "The House I Live In" from the Frank Sinatra film of the same title.

The blues "Ee-Ah" features a laid-back introduction by pianist Kenny Drew and a remarkable extended solo by Rollins. The aptly titled "B. Quick" and "B. Swift" are lightning-fast improvs spotlighting exceptional solos by all members, especially drummer Max Roach. Of the previously unissued tracks, "Sonny Boy" has a bounciness unusual in '50s jazz, and "The House I Live In" (featuring trumpeter Kenny Dorham and pianist Wade Legge) manages to be simultaneously stately and swinging. They're hardly mere leftovers, and should have been issued long before they were.

https://www.allmusic.com/album/sonny-boy-mw0000203974


Release Date 1957
Duration39:03
Recording DateOctober 5, 1956
Recording Location
Hackensack, NJ
New Jersey





1962-The Bridge [Vinylogy.Cd.Flac]


Timeless Classic Albums
Sonny Rollins 5d's [Flac]

DOL - Vinylogy - 2018
Vinyl Replica Cd Collection
www.vinylogy.ru



Comentario:
Recorded at RCA Victor's Studio B, New York City on January 30, 196 (B2), February 13, 1962 (A2,A3,B3), February 14, 1962 (A1,B1)

Performance

Sonny Rollins – tenor saxophone
Jim Hall – guitar
Bob Cranshaw – bass
Ben Riley – drums

Harry "H.T." Saunders – drums (replaces Riley on "God Bless the Child")
"God Bless the Child" recorded on January 30, 1962
"Where Are You?", "John S." and "You Do Something to Me" recorded on February 13,
"Without a Song" and "The Bridge" on February 14, 1962




Production
Bob Prince – original session producer
Ray Hall – engineer
Chuck Stewart – cover photography
George Avakian – liner notes
Production of the first CD Reissue, 1992
John Snyder – digital producer
Steve Backer – executive producer
Joe Lopes and Jay Newland – engineers
Ira Gitler – liner notes (in addition to the original text by Avakian)



Listado de Temas:


Lp Side A



01 - Without A Song - 07:30 min.
Composición de: Rose, Eliscu, Youmans


02 - Where Are You - 05:11 min.
Composición de: Adamson, McHugh


03 - John S. - 07:46 min.
Composición de: Sonny Rollins


Lp Side B




04 - The Bridge - 05:59 min.
Composición de: Sonny Rollins 


05 - God Bless The Child - 07:29 min.
Composición de: Herzog, Holiday , 1962 (A1,B1) 


06 - You Do Something To Me - 06:51 min.
Composición de: Cole Porter



6 Temas. Tiempo Total: 00:40:46
flac @ 804 - 245,90 MB
RipPor: Napi#19

1PocodMusica.com
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Reseñas: 

The Bridge is a studio album by jazz saxophonist Sonny Rollins, recorded in 1962. It was Rollins' first release following a three-year sabbatical and was his first album for RCA Victor. The saxophonist was joined by the musicians with whom he recorded for the next segment of his career: Jim Hall on guitar, Bob Cranshaw on double bass and Ben Riley on drums.

Studio album by Sonny Rollins
Recorded January 30 and February 13-14, 1962
At RCA Victor Studio B, New York City
Released 1962
Genre Jazz, hard bop
Length 40:36
Label RCA Victor LPM-2527
Producer Bob Prince

History
In 1959, feeling pressured by the unexpected swiftness of his rise to fame, Rollins took a three-year hiatus to focus on perfecting his craft. A resident of the Lower East Side of Manhattan with no private space to practice, he took his saxophone up to the Williamsburg Bridge to practice alone: "I would be up there 15 or 16 hours at a time spring, summer, fall and winter". His first recording after his return to performance took its name from those solo sessions. Critical reception to the album, which was not the revolutionary new jazz approach many expected, was mixed. Rollins, who had been considered groundbreaking in his thematic improvisations, was supplanted in critical buzz by the growing popularity of Ornette Coleman's free jazz.

Reception
If not a tremendous departure from Rollins' earlier style, the album was nevertheless quite successful. Tagged by AllMusic as "a near-classic", the recording was declared by Inkblot Magazine to be "one of the greatest albums from one of jazz's greatest musicians". It is one of the albums for which the long-active and prolific Rollins receives his greatest praise.

The album was inducted into the Grammy Hall of Fame in 2015.

Re-releases
The album was re-released in 1976 in Japan and 1977 in the U.S. It was relaunched in 1992 on CD by Bluebird/RCA/BMG and remastered from the original master tapes for CD in 2003 for the Bluebird First Editions series. It has also been issued many times in other formats, for example as an audiophile LP with 45 rpm (Classic Records, 2000). It is also part of The Complete RCA Victor Recordings (1997).

https://www.allmusic.com/album/the-bridge-mw0000678485



AllMusic Review
by Scott Yanow

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.

AllMusic User Reviews
The Ranting Recluse - January 8, 2016

After a meteoric rise to fame in the 1950s, legendary tenor sax man Sonny Rollins had walked away from it all by the decade's end, embarking on an introspective, almost monastic three-year quest to improve his technique, during which time he would spend up to 16 hours a day playing his sax, alone, on New York City's Williamsburg bridge, and that solitary period of time spent practicing on the bridge is what gives this album its title. Although critical reception to the album was initially mixed, as many had hoped Rollins would have re-emerged from his sabbatical having developed some revolutionary new technique or with a markedly evolved style that differed more strongly from his earlier work, it was nonetheless a commercial success, and has since become regarded as one of his finest albums, even being inducted into the Grammy Hall of Fame in 2015. Featuring Rollins in a new quartet that also included Jim Hall on guitar, Bob Cranshaw on bass and Ben Riley on the drums, the album has a spare, subdued sound, which might be why the ballads are generally more evocative and memorable than the uptempo numbers, with Rollins' haunting take on the standard "God Bless the Child" being my pick for the standout track, as well as the one that probably best reflects what it must have been like to spend all that time playing alone on that bridge.

https://www.discogs.com/Sonny-Rollins-The-Bridge/release/3176600

Label: RCA Victor ‎– LPM/LSP-2527, RCA Victor ‎– LPM 2527
Format: Vinyl, LP, Album, Mono 
Land: US Veröffentlicht: 1962
Genre: Jazz - Stil: Hard Bop

Unternehmen usw.
Recorded At – RCA's Studio B
Copyright (c) – Radio Corporation Of America
Pressed By – RCA Records Pressing Plant, Rockaway

Mitwirkende
Bass – Bob Cranshaw
Drums – Ben Riley, H. T. Saunders
Engineer [Recording] – Ray Hall
Guitar – Jim Hall
Liner Notes – George Avakian
Producer – Bob Prince
Anmerkungen
Recorded at RCA Victor's Studio B, New York City on January 30, 196 (B2), February 13, 1962 (A2,A3,B3), February 14, 1962 (A1,B1).


*
    Timeless Classic Albums - 2018 - Sonny Rollins [5d's Flac]
    DOL - Vinylogy VinylReplica Cd Collection

  1. 1956-Saxophone Colossus [Vinylogy.Cd.Flac] SR56SC.1907.rar - 256 MB
  2. 1956-Sonny Boy [Vinylogy.Cd.Flac] SR56SB.1907.rar - 217 MB
  3. 1962-The Bridge [Vinylogy.Cd.Flac] SR62TB.1907.rar - 259 MB



757 MB
https://1fichier.com/?lzn4xrw9iidfrdueuogi







24 julio 2019

George Benson GBB0X02.1907

George Benson

GBB0X02.1907

 George Benson  Shape Of Things To Come

1968




Notas
Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey
August 27, 1968: Tracks A1 & A4
September 5, 1968: Track A3
October 5, 1968: Track B1
October 22, 1968: Tracks A2, B2 & B3


Don Sebesky – Arranger, Conductor

Personnel

George Benson – Guitar, Vocals
Ron Carter – Bass (tracks 2, 6-7)
Richard Davis – Bass
Herbie Hancock – Piano
Hank Jones – Piano
Idris Muhammad (as Leo Morris) – Drums
Dave Mankovitz – Viola (tracks 1, 3-4)
George Marge – Flute, Cello (tracks 1, 3-4)
Romeo Penque – Flute, Cello (tracks 1, 3-4)
Alan Raph – Trombone, Sound Effects, Valve Trombone, Tuba (all Tracks Except 3)
George Ricci – Cello (tracks 1, 3-4)
Stanley Webb – Flute
Joe Shepley – Trumpet, Flugelhorn (all Tracks Except 3)
Wayne Andre – Trombone, Baritone Saxophone (all Tracks Except 3)
Burt Collins – Trumpet
Charles Covington – Organ
Bernard Eichen – Violin (tracks 1, 3-4)
Jack Jennings – Percussion, Vibraphone (tracks 1, 3-4)
Charles Libove – Violin (tracks 1, 3-4)
Buddy Lucas – Harmonica, Tenor Saxophone, Amplified Harmonica (all Tracks Except 3)
Johnny Pacheco – Percussion, Conga
Marvin Stamm – Trumpet, Flugelhorn, Piccolo (all Tracks Except 3)

Technical
Creed Taylor – producer
Rudy Van Gelder – engineer
Sam Antupit – artwork
Pete Turner - photography




Listado de Temas:



Lp Side A

01 - Footin' It - 04:24 min.
Composición de: George Benson, Don Sebesky
Comentario: Flute – Stan Webb
Piano – Herbie Hancock


02 - Face It Boy, It's Over - 04:07 min.
Composición de: Andy Badale, Frank Stanton


03 - Shape Of Things To Come - 05:20 min.
Composición de: Barry Mann, Cynthia Weil


04 - Chatanooga Choo Choo - 03:37 min.
Composición de: Mack Gordon, Harry Warren
Comentario: Flute – Stan Webb
Piano – Herbie Hancock


Lp Side B

05 - Don't Let Me Lose This Dream - 04:43 min.
Composición de: Aretha Franklin, Ted White
Comentario: Bass – Richard Davis


06 - Shape Of Things That Are And Were - 05:49 min.
Composición de: George Bensone
Comentario: Bass – Richard Davis
Piano – Hank Jones


07 - Last Train To Clarksville - 05:36 min.
Composición de: Tommy Boyce, Bobby Hart



7 Temas. Tiempo Total: 00:33:36
flac @ 796 - 199,12 MB


1PocodMusica.com
https://www.1PocodMusica.com/




Reseñas:

Wikipedia


https://en.wikipedia.org/wiki/Shape_of_Things_to_Come_(George_Benson_album)

Shape of Things to Come es el quinto álbum de estudio del guitarrista estadounidense George Benson, lanzado en 1968 y arreglado por Don Sebesky. Fue su primer álbum para A & amp; M Records y su primer álbum producido por Creed Taylor, quien seguiría siendo su productor hasta 1976.

Después de cuatro años y tres sellos diferentes, Benson firmó con el sello A & amp; M / CTI en 1968. Sería el reemplazo de su estrella Wes Montgomery, quien había muerto a principios de año. Para su primer álbum con el sello, el productor Taylor incorporó todos los pesos pesados de las etiquetas, el arreglista Sebesky, el ingeniero Rudy Van Gelder y los artistas invitados Herbie Hancock y Ron Carter. El álbum es en su mayoría canciones de artistas tan diversos como Aretha Franklin, The Monkees y Glenn Miller. También contiene un par de composiciones originales y algunos reelaboraciones de bandas sonoras de películas.
.

AllMusic Review
https://www.allmusic.com/album/shape-of-things-to-come-mw0000197309
by Thom Jurek

Este álbum de George Benson, debut en A & amp; M / CTI, señaló la llegada de una verdadera estrella en la escena del jazz. Creed Taylor firmó con Benson inmediatamente después del fallecimiento de Wes Montgomery en 1968; el productor de Verve, Esmond Edwards, y el arreglista, Tom McIntosh, lo estaban preparando antes de que llegara a CTI. Taylor emparejó a Benson con el arreglista Don Sebesky (que había trabajado mucho en las grabaciones en A & amp; M de Montgomery) y el ingeniero Rudy Van Gelder. Herbie Hancock y Ron Carter (ambos miembros del Miles Davis Quintet con quien Benson había colaborado a principios de año) el bajista Richard Davis y el pianista Hank Jones fueron invitados. La banda principal de Benson para estas fechas incluía al organista Charlie Covington, al baterista Leo Morris y al conguero Johnny Pacheco. Las cuerdas habituales, los vientos suplementarios y las voces secundarias en ciertos lugares (todas con el sello personal de Sebesky) también están en su lugar. Todo está aquí para que Benson encaje perfectamente en el molde de Montgomery, excepto por una cosa: Benson es un artista de voluntad fuerte. No iba a ninguna parte, no quería ir e insistió en un cierto control sobre la sesión, y todo para mejor. Este es un pequeño álbum lleno de vapor que comienza inocentemente con una melodía de jazz soul llamada "Footin 'It", escrita por Benson y Sebesky. Las flautas y los violoncelos responden a la cabecera de Benson. Las cuerdas caen exóticamente cuando Benson comienza a estirarse y Covington responde con funk. La guitarra de Benson no es tan suave como la de Montgomery, hay un borde definido en él y es un profundo corte. Otro movimiento interesante fue un experimento de Benson para usar el dispositivo Varitone con sobregrabaciones de velocidad variable como las de Les Paul en su guitarra.

Covington, alternativamente, responde y zumba, mientras Davis profundiza en los cambios y  lo mantiene todo simple pero acentuado. Pacheco, como Benson, simplemente se vuelve loco. En el momento en que las cuerdas y la flauta entran cerca del final, tu mente ya estará llena. Barry Mann escribió el corte como tema principal de una película para la adolescentes llamada Wild in the Streets, y fue interpretada por Davie Allan & the Arrows. Benson lo convierte en un sólido número de soul-jazz psicodélico: no se pierden los ritmos ¡se meten bajo la piel!

Este disco deambula desde la revisión radical de "Chattanooga Choo Choo" hasta el  "Don't Let Me Lose This Dream", de Teddy White y Aretha Franklin, un número de soul poco latinizante, aunque  con todo el tratamiento jazzístico; es la única concesión de facsímil que Benson hace a la memoria de Montgomery en el disco. Los enormes arreglos de metales de Sebesky bombean la melodía hacia algo realmente progresivo y ajustado. Covington también se eleva en él, pero deja mucho espacio para el solo de Benson, quien aporta su propio jazzy blues nocturno con "Shape of Things Are Are Were", como si dijera "No soy Wes; eso fue el ayer". La sección de viento madera de Sebesky es contundente y subraya el blues en la melodía, mientras el guitarrista toca un solo asesino de una manera relajada y abierta, seduciendo al oyente para el cerrar. Introducido por una solista solitaria, llena de blues y tocando solo, como si estuviera en un patio de carga, Benson y Sebesky convierten en un rave-up de jazz funky de Boyce & amp; El hit de Hart "Last Train to Clarksville".

Aparte de la línea de melodía demasiado familiar, este corte despega, con grandes y brillantes  metales, Morris sincroniza dos veces la banda, Carter la mide a la mitad y Benson profundiza en los hilos de acordes de múltiples cuerdas y en los de cuerdas simples que duplica con el órgano de Covington a mitad de su descanso, esta es la salida que merece este brillante álbum. Shape of Things to Come es la verdadera señal de llegada de Benson, no solo como un gran solista, sino como un artista que se niega a ser inmovilizado cuatro décadas después. Es una estrella del pop, un genio de la guitarra, un cantante, un compositor, e incluso ahora un hombre hecho a sí mismo. Este es un álbum que merece su estado de "clásico" y lo lleva bien muchos años después.


 George Benson  Tell It Like It Is

1969

Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey, April 29; May 16, 20, 1969:
[A6, B1, B3] April 29, 1969
[A1 to A5] May 16, 1969
[B2, B4, B5] May 20, 1969




Personnel:

Bass – Bob Bushnell (tracks: A1 to A5), Gerry Jemmott (tracks: A1 to A6, B1, B3), Jim Fielder (tracks: B2, B4, B5)
Drums – Leo Morris
Guitar George Benson
Percussion – Angel Allende, Johnny Pacheco, Paul Alicea
Piano – Richard Tee (tracks: A1 to A5, B2, B4, B5), Rodgers Grant (tracks: A6, B1, B3)
Saxophone – Arthur Clarke (tracks: A1 to A5), Bob Porcelli, Hubert Laws (tracks: A6, B1, B3), Jerome Richardson (tracks: A1 to A5, B2, B4, B5), Joe Farrell, Joe Henderson (tracks: B2, B4, B5), Sonny Fortune (tracks: A6, B1, B3)
Trumpet – Lew Soloff



Listado de Temas:



Lp Side A

01 - Soul Limbo - 03:26 min.
Composición de: Jackson, Jones, Dunn, Cropper
Comentario: Soloist [Alto Solo] – Bob Porcelli
Recorded May 16, 1969


02 - Are You Happy¿ - 02:31 min.
Composición de: Butler, Gamble, Bell
Comentario: Recorded May 16, 1969


03 - Tell It Like It Is - 02:58 min.
Composición de: Davis, Diamond
Comentario: Recorded May 16, 1969


04 - Land Of 1000 Dances - 02:51 min.
Composición de: Kenner
Comentario: Recorded May 16, 1969


05 - Jackie, All - 02:17 min.
Composición de: Eumir Deodato
Comentario: Flute – Bob Porcelli, Jerome Richardson, Jerry Dodgion
Recorded May 16, 1969


06 - Dontcha Hear Me Callin' To Ya - 03:22 min.
Composición de: Rudy Stevenson
Comentario: Soloist [Alto Solos] – Sonny Fortune
Recorded April 29, 1969


Lp Side B

07 - Water Brother - 02:13 min.
Composición de: Don Sebesky
Comentario: Soloist [Alto Solos] – Sonny Fortune
Recorded April 29, 1969


08 - My Woman's Good To Me - 03:16 min.
Composición de: Sherrill, Sutton
Comentario: Recorded May 20, 1969


09 - Jama Joe - 03:52 min.
Composición de: George Benson
Comentario: Recorded April 29, 1969


10 - My Cherie Amour - 03:31 min.
Composición de: Cosby, Wonder, May
Comentario: Recorded May 20, 1969


11 - Out In The Cold Again - 02:46 min.
Composición de: Bloom, Koehler
Comentario: Recorded May 20, 1969



11 Temas. Tiempo Total: 00:33:03
flac @ 1018 - 232,00 MB



1PocodMusica.com
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Reseñas:

Sello: A&M Records ‎– SP 3020, CTI Records ‎– SP 3020
Formato: Vinyl, LP, Album, Stereo, Gatefold
País: US - Fecha: 1969
Género: Jazz, Funk / Soul – Estilo: Soul

Créditos
Arranged By, Conductor – Marty Sheller
Design [Album] – Sam Antupit
Engineer – Rudy Van Gelder
Photography By [Cover] – Pete Turner
Producer – Creed Taylor


AllMusic Review
by Richard S. Ginell

Tratando de sacudir las cosas, el productor Creed Taylor trajo al arreglista Marty Sheller de la banda afrocubana de Mongo Santamaria, redujo el tamaño de los temas (ninguna pista es más larga que 3:45) elevó los decibelios a un nivel estridente y presentó Benson en lo que él esperaba que fuera un ambiente amigable para la radio. La maravilla es que Benson logra trascender la explosión de la producción con especias de percusión latina y límites de tiempo ajustados con rellenos de guitarra, a menudo brillantemente sabrosos, solos breves en muchos estilos y tres voces pesadas de reverberación. La pista más atractiva, y la más frustrante, es la encantadora "Jackie, All" de Eumir Deodato; George dice la melodía dos veces y justo cuando comienza un hermoso solo ¡los faders bajan a las 2:15. Maldita sea! Vale la pena escucharlo a pesar de los largos cuchillos de producción.



GBB0X02.1907.rar
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22 julio 2019

George Benson GBB0X01.1907

George Benson

 GBB0X01

By Raúl Ranz
George Benson performing in Madrid, 2009
By Raúl Ranz - https://www.flickr.com/photos/misfitkid/3697792072/, CC BY 2.0,
https://commons.wikimedia.org/w/index.php?curid=8169285





George Benson (nacido el 22 de marzo de 1943) es un guitarrista, cantante y compositor estadounidense. Comenzó su carrera profesional como guitarrista de jazz a la edad de 21 años. Benson utiliza una técnica de selección de golpeos similar a la de los intérpretes de jazz gitanos como Django Reinhardt.

Inicialmente niño prodigio, Benson llegó a la fama en la década de 1960, tocando soul jazz con Jack McDuff y otros. Luego emprendió exitosa carrera en solitario, alternando jazz, el pop, c & amp; B y scat. Su álbum Breezin' fue certificado triple platino y alcanzó el no. 1 en la lista de álbumes de Billboard de 1976. Sus conciertos fueron muy concurridos durante la década de 1980, y todavía tiene muchos seguidores. Benson ha sido honrado con una estrella en el Paseo de la Fama de Hollywood.

Benson nació y se crió en el distrito de Hill en Pittsburgh, Pennsylvania. A la edad de siete años, tocó por primera vez el ukelele en la esquina de una farmacia, por lo que le pagaron unos pocos dólares. A la edad de ocho años, tocaba la guitarra en un club nocturno sin licencia los viernes y sábados por la noche, pero la policía pronto lo cerró. Con 9 años, comenzó a grabar. De las cuatro sesiones que grabó, dos fueron lanzadas, "She Makes Me Mad", con "It Should Have Been Me" en la cara B, por RCA-Victor, Nueva York. Aunque una fuente indica que este disco se publicó con el nombre "Little Georgie", la etiqueta del 45 rpm se imprimió con el nombre de George Benson. El single fue producido por Leroy Kirkland para la etiqueta de rhythm and blues de RCA, Groove Records. Como dijo en una entrevista, la introducción de Benson al showbusiness tuvo efecto en su educación. Cuando esto fue descubierto (además del fracaso de su single) le incautaron la guitarra. Por suerte, tras pasar un tiempo en un centro de detención juvenil, su padrastro le hizo una nueva guitarra.

Benson asistió y se graduó en Schenley High School. En su juventud aprendió a tocar jazz instrumental en directo durante una relación durante varios años con el organista Jack McDuff. Uno de sus muchos primeros héroes de la guitarra fue el guitarrista de jazz country Hank Garland. A la edad de 21 años, grabó su primer álbum como líder, The New Boss Guitar, con McDuff. La siguiente grabación de Benson fue It's Uptown con el George Benson Quartet, incluyendo Lonnie Smith en el órgano y Ronnie Cuber en el saxofón barítono. Benson siguió con The George Benson Cookbook, también con Lonnie Smith y Ronnie Cuber en barítono y baterista Marion Booker. Miles Davis empleó a Benson a mediados de la década de 1960, presentando su guitarra en "Paraphernalia" en su disco de 1968 en Columbia, Miles in the Sky antes de cambiarse a Verve Records.

Benson luego firmó con el sello de jazz Creed Taylor, CTI Records, donde grabó varios álbumes, con algunos pesos pesados ​​de jazz como invitados, con un cierto éxito, principalmente en el campo del jazz. Su lanzamiento de 1974, Bad Benson, alcanzó el primer lugar en la lista de éxitos de Billboard jazz, mientras que los siguientes, Good King Bad (álbum # 51 Pop) y Benson y Farrell (con Joe Farrell), llegaron ambos al top 3 de jazz. Benson también hizo una versión del álbum de 1969 de The Beatles Abbey Road, llamado The Other Side of Abbey Road, también lanzado en 1969, y una versión de "White Rabbit", originalmente escrita y grabada por el grupo de rock de San Francisco Great Society, y que hizo famosa los Jefferson Airplane. Benson tocó en numerosas sesiones para otros artistas de CTI durante este tiempo, incluidos Freddie Hubbard y Stanley Turrentine, especialmente en el aclamado álbum de este último, Sugar. [. . .]


George Benson - 1976 - It's Uptown



Cover says
"The Most Exciting New Guitarist On The Jazz Scene Today"

Recorded 1966.
Tracks 12 to 14 previously unreleased.
Tracks 15 and 16 originally released on Lonnie Smith - Finger Lickin' Good.
1976 reissue on red label with Columbia logo in gold.


Personnel

George Benson – guitar, vocals
&
The George Benson Quartet

Baritone Saxophone – Ronnie Cuber
Drums – Charlie Persip (tracks: 15, 16), Jimmy Lovelace, Ray Lucas (tracks: 2, 3, 13)
Organ – Lonnie Smith

Producer – John Hammond

Liner Notes [Original LP] – Mike Zwerin
Producer – John Hammond
Reissue Producer – Didier C. Deutsch, Steve Berkowitz
Liner Notes [March 2001] – George Benson
Mastered By [Digitally] – Mark Wilder





Listado de Temas:



Lp Side A


01 - Clockwise - 04:28 min.
Composición de: George Benson
Comentario: Drums – Jimmy Lovelace


02 - Summertime - 02:25 min.
Composición de: D. Heyward, G. Gershwin
Comentario: Vocals – George Benson
Drums – Ray Lucas


03 - Ain't That Peculiar - 02:57 min.
Composición de: M. Tarplin, R. Rogers, W. Moore, W. Robinson
Comentario: Drums – Ray Lucas


04 - Jaguar - 02:57 min.
Composición de: George Benson
Comentario: Drums – Jimmy Lovelace


05 - Willow Weep For Me - 07:52 min.
Composición de:  A. Ronell
Comentario: Drums – Jimmy Lovelace


06 - A Foggy Day - 02:43 min.
Composición de: G. Gershwin, I. Gershwin
Comentario: Vocals – George Benson
Drums – Jimmy Lovelace

Lp Side B

07 - Hello Birdie - 04:01 min.
Composición de: George Benson
Comentario: Drums – Jimmy Lovelace


08 - Bullfight - 03:48 min.
Composición de: George Benson
Comentario: Drums – Jimmy Lovelace


09 - Stormy Weather - 02:19 min.
Composición de: H. Arlen, T. Koehler
Comentario: Vocals – George Benson
Drums – Jimmy Lovelace


10 - Eternally - 04:07 min.
Composición de: George Benson
Comentario: drums – Jimmy Lovelace


11 - Myna Bird Blues - 04:38 min.
Composición de: : George Benson
Comentario: drums – Jimmy Lovelace
Total length: 41:49

Bonus Tracks

12 - J. H. Bossa Nova - 03:13 min.
Composición de: George Benson
Comentario: Drums – Jimmy Lovelace


13 - Clockwise (Alternate Take) - 04:58 min.
Composición de: George Benson
Comentario: Drums – Ray Lucas


14 - Eternally (Short Version) - 02:46 min.
Composición de: George Benson
Comentario: Drums – Charlie Persip


15 - Sideman - 04:49 min.
Composición de: Lonnie Smith
Comentario: Trumpet – Blue Mitchell
Drums – Charlie Persip


16 - Minor Chant - 03:26 min.
Composición de: Stanley Turrentine
Comentario: Trumpet – Blue Mitchell



16 Temas. Tiempo Total: 01:01:27
flac @ 971 - 403,88 MB



1PocodMusica.com
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Reseñas:

It's Uptown es el segundo álbum de estudio del guitarrista de jazz/soul, George Benson.
y el primero de los producidos por John Hammond. Lo grabó antes de cambiarse de discográfica.

The George Benson Quartet ‎– It's Uptown
Label: Columbia ‎– CS 9325
Format: 1976 Vinyl, LP, Album, Reissue, Stereo
Format: 2001 CD, Album, Reissue, Remastered
Land: US Veröffentlicht:
Genre: Jazz, Funk / Soul
Stil: Soul-Jazz, Soul, Post Bop





AllMusic Review
by Richard S. Ginell

Mientras que la sólida reputación jazzística de George Benson se basa supuestamente en sus primeros álbumes de Columbia, producidos por John Hammond, cualquiera que escuchara este disco descubrirá que sus intereses vagaron ampliamente desde el principio. Sí, hay un montón de bop avanzado aquí, con Benson estirando sus habilidades técnicas en "Hello Birdie" y "Myna Bird Blues" y rumiando pensativamente en "Willow Weep for Me". Pero Benson también tenía interés en el cuasi-rock & amp; roll, produciendo octavas parecidas a las de Wes en "Young Jaguar", y algo de ritmo de Bo Diddley-in-Spain en "Bullfight". El joven Benson suena melífluo y puro en tres números vocales, los elementos básicos de sus éxitos posteriores en su mayoría. Sin embargo, el combo de respaldo de Benson no hace clic en todos los cilindros, Lonnie Smith es confiable en el órgano, aunque el contundente saxo barítono de Ronnie Cuber se hace bastante incómodo aquí.


The George Benson Quartet Featuring Lonnie Smith

1967

The George Benson Cookbook



Grabado en New York los días
  • 1 de Agosto (2, 3, 4, 7, 10)
  •  19 de Octubre de 1966 (# 1, 5, 6, 9)
  •  y 6 de Septiembre de 1966 (# 8) 



Digitally Remastered From The Original Analog Masters.
Remixed and Digitally Mastered at Sony Music Studios, New York. 

Personnel

George Benson – Guitar, Vocals
The George Benson Quartet:

Ronnie Cuber – Baritone Saxophone
Bennie Green – Trombone
Albert Winston – Bass
Jimmy Lovelace or Marion Booker, Jr. – Drums
Featuring
Lonnie Smith – Organ
Produced by John Hammond




Comentario: por CHRIS ALBERTSON, en las notas del disco

[. . .] Este es básicamente el cuarteto de George Benson, con Smith y Cuber, el trombonista Bennie Green y el percusionista Pucho se agregaron a algunas pistas, lo que dio un sabor bop que encantó a los fans y críticos de jazz. Green trabajó con Gene Ammons y Charlie Ventura en los años cuarenta, y esporádicamente con Earl Hines entre 1942 y 1953.

El cuarteto de Benson se inspiró en el modelo de Jack McDuff, con el saxofonista barítono Ronnie Cuber, el organista Lonnie Smith, un poderoso intérprete que merecía más atención de la que había recibido, y Jimmy Lovelace o Marion Booker alternándose en la batería. El tono sonoro del barítono de Cuber le da al cuarteto una textura más rica y densa que la obtenida por McDuff. [. . .] 


Listado de Temas:


Lp Side A

01 - The Cooker - 04:17 min.
Composición de: George Benson
Grabado el 19 de Octubre de 1966


02 - Benny's Back - 04:13 min.
Composición de: George Benson 
Grabado el 1 de Agosto


03 - Bossa Rocka - 04:28 min.
Composición de: George Benson 
Grabado el 1 de Agosto


04 - All Of Me - 02:08 min.
Composición de: G. Marks, S. Simons
Comentario: Vocals – George Benson
Grabado el 1 de Agosto


05 - Big Fat Lady - 04:45 min.
Composición de: George Benson 
Grabado el 19 de Octubre de 1966

Lp Side B

06 - Benson's Rider - 05:40 min.
Composición de: George Benson
Grabado el 19 de Octubre de 1966


07 - Ready And Able - 03:32 min.
Composición de: Jimmy Smith (James Oscar Smith Jr.)
Grabado el 1 de Agosto


08 - The Borgia Stick - 03:11 min.
Composición de: George Benson 
Grabado el 6 de Septiembre de 1966


09 - Return Of The Prodigal Son - 02:39 min.
Composición de: Harold Ousley (King Curtis)
Grabado el 19 de Octubre de 1966


10 - Jumpin' With Symphony Sid - 06:35 min.
Composición de: K. Pleasure, Lester Young
Grabado el 1 de Agosto


2007 remastered CD / Blu-spec CD bonus tracks


11 - The Man From Toledo - 02:12 min.
Composición de: George Benson


12 - Slow Scene - 03:14 min.
Composición de: George Benson 


13 - Let Them Talk - 02:54 min.
Composición de: George Benson 


14 - Goodnight - 02:24 min.
Composición de: George Benson 



14 Temas. Tiempo Total: 00:52:12
flac @ 955 - 354,15 MB

1PocodMusica.com
https://www.1PocodMusica.com/


Reseñas:

Formato  Vinyl, LP, Album, Repress, Stereo
País: US Fecha: 1970
Género: Jazz, Funk / Soul
Estilo: Soul-Jazz





Tripod.com
http://hardbop.tripod.com/ckbk.html

Liner Notes
The George Benson Cookbook
(Columbia)

– CHRIS ALBERTSON, from the liner notes

Este es básicamente el cuarteto de George Benson, con Smith y Cuber, el trombonista Bennie Green y el percusionista Pucho se agregaron a algunas pistas, lo que dio un sabor bop que encantó a los fans y críticos de jazz. Green trabajó con Gene Ammons y Charlie Ventura en los años cuarenta, y esporádicamente con Earl Hines entre 1942 y 1953.


El cuarteto de Benson se inspiró en el modelo de Jack McDuff, con el saxofonista barítono Ronnie Cuber, el organista Lonnie Smith, un poderoso intérprete que merecía más atención de la que había recibido, y Jimmy Lovelace o Marion Booker alternándose en la batería. El tono sonoro del barítono de Cuber le da al cuarteto una textura más rica y densa que la obtenida por McDuff, quien usó un tenor  pero el sonido general es el mismo. A los veinticinco años, Ronnie Cuber era alumno de la célebre Newport Youth Band de Marshall Brown; había pasado los dos años anteriores con la orquesta muy ruidosa de Maynard Ferguson, lo que puede explicar su estilo agresivo, pero el enfoque de Cuber también enfatizaba el ritmo, y ese fue precisamente el ingrediente requerido en un grupo de "soul jazz" de este tipo.



Tomado a buen ritmo, "The Cooker" hace honor a su título. Benson va primero, ofreciendo un solo largo y bellamente estructurado con puentes de tiempo de parada. A continuación, Cuber mantiene el ritmo, lanzando citas de "The Flight Of The Bumble Bee" antes de que el conjunto lleve el swing a un final abrupto y oportuno.

El trombonista Bennie Green inicia "Benny's Back", luego sigue Cuber,  Smith y, finalmente, Benson. Es posible que reconozca "Benson's Rider" como un antiguo estándar de blues llamado "See See Rider". Tomado a un ritmo medio, comienza Benson, que establece el tema y luego lo improvisa. Smith ejecuta los solos siguiente y Benson lo saca.

A pesar de que la moda de la bossa nova estaba casi terminada en 1966, Benson mantenía claramente una afinidad por ese ritmo suave. Con el percusionista Pucho ayudando al baterista Jimmy Lovelace a mantener una base suave, a Benson se le escucha en su mejor forma lírica en "Bossa Rock".

Cuber se mete en un solo de barítono, pero las voces de Benson ocupan la mayor parte de "All Of Me", una melodía estándar que ningún cantante de jazz que vale su sal ha pasado por alto. Fíjate en lo diferente que era el estilo de Benson del que usó para enviar grabaciones posteriores a la parte superior de las listas. Nunca confundirás a este George Benson con Stevie Wonder.

Si tiene la versión original en LP de esta grabación, puede reconocer "Big Fat Lady" como "Farm Boy". Desearía poder explicar el cambio de nombre, pero no puedo. Lo mismo ocurre con "Ready And Able", que solía llamarse "Bayou". Este último es una melodía boppish con Cuber solista primero, saltando ardientemente sobre la base de Smith antes de que Benson despegue en un vuelo fantástico. El set continúa con dos selecciones de cuartetos, "The Borgia Stick" y "Return Of The Prodigal Son", que son estrictamente Benson, luego termina con una nota familiar mientras Bennie Green regresa para una sesión improvisada, como una versión sin sentido de "Jumpin ' Con Symphony Sid ". Es una buena manera de terminar un buen álbum cuyo crítico más severo es el propio líder.


CHRIS ALBERTSON, en las notas del disco
http://hardbop.tripod.com/ckbk.html


Wikipedia

https://en.wikipedia.org/wiki/The_George_Benson_Cookbook 


The George Benson Cookbook es el tercer álbum de estudio del guitarrista de jazz / soul George Benson, y el segundo producido por John Hammond.





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