Joe DeFrancesco (Bop, Hard Bop, Soul Jazz, U.S.A.)

Joe DeFrancesco - Part III (1991, Columbia)







Жанр: Bop, Hard Bop, Soul Jazz
Страна исполнителя: U.S.A.
Запись: at Vintage Recorders, Phoenix, Arizona
Год издания: 1991
Страна - производитель диска: U.S.A.
Издатель (лейбл): Columbia
Номер по каталогу: CK 47063
Источник (релизер): Моя коллекция, мой рип

Трэклист:
Состав:
1. Dr. JEKYLL (5.52) J. McLean
Joey DeFrancesco—Organ; Glenn Guidone—Tenor Saxophone; Robert Landham—Alto Saxophone; J.R. "Big Jim" Henry—Trumpet, Flugelhorn; Paul Bollenback—Guitar; Byron "Wookie" Landham —Drums

2. The End Of A Love Affair (5:28) F.C. Redding
Joey DeFrancesco—Organ; Paul Bollenback —Guitar; Byron "Wookie" Landham —Drums

3. O.E.I. (7:04) J. DeFrancesco
Joey DeFrancesco—Acoustic Piano, Trumpet; Christian McBride—Acoustic Bass; Byron "Wookie" Landham—Drums

4. RHYTHM-A-NING (6:25) T. Monk
Joey DeFrancesco—Organ; Glenn Guidone—Tenor Saxophone; Robert Landham—Alto Saxophone; J.R. "Big Jim" Henry—Trumpet, Flugelhorn; Paul Bollenback—Guitar; Byron "Wookie" Landham —Drums

5. Wookie's Corner (8:20) Joey DeFrancesco
Joey DeFrancesco—Organ; Glenn Guidone—Tenor Saxophone; Robert Landham—Alto Saxophone; J.R. "Big Jim" Henry—Trumpet, Flugelhorn; Paul Bollenback—Guitar; Byron "Wookie" Landham —Drums

6. What I See (3.15) J. DeFrancesco
Joey DeFrancesco—Organ, Trumpet; Glenn Guidone—Tenor Saxophone; Robert Landham—Alto Saxophone; J.R. "Big Jim" Henry—Lead Trumpet, Trumpet Solo; Paul Bollenback—Acoustic Nylon String Guitar; Ted Moore—Percussion; Byron "Wookie" Landham—Drums

7. Don't Stop Me Now (7:49) S. Lukather-D. Paich
Joey DeFrancesco- ENSONIQ EPS-M, Trumpet; Paul Bollenback—Guilar; Byron "Wookie" Landham —Drums;

8. If I Were A Bell (6:30) F Loessier
Joey DeFrancesco—Acoustic Piano; Christian McBride—Acoustic Bass; Byron "Wookie" Landham —Drums

9. Waltz For Dad (6:19) Joey DeFrancesco
Joey DeFrancesco—Organ; Robert Landham—Alto Saxophone; Paul Bollenback—Guitar; Byron "Wookie" Landham—Drums

10. Blue In Green (8:29) M. Davis
Joey DeFrancesco—Organ; Paul Bollenback—Guitar; Byron "Wookie" Landham —Drums

11. Gut Bucket Blues (6:14) Joey DeFrancesco
John DeFrancesco—Organ; Paul Bollenback—Guitar; Byron "Wookie" Landham —Drums

All songs arranged by Joey DeFrancesco with the exception of "The End Of A Love Affair" which was arranged by Paul Bollenback.
The organ used is a Hammond C-3 modified by Joey DeFrancesco.
Joey DeFrancesco plays ENSONIQ Keyboards (EPS, EPS-M, SQ-80, VFX, VFX-SD)

Рейтинг:
1991 - Billboard Top Jazz Albums #2

The topic that invariably comes up in a discussion of Joey DeFrancesco is his age. This is understandable yet unfair. Obviously his talent is quite exceptional in one so young, but just as clearly he neither wants nor needs to be evaluated simply as a teenaged prodigy.
In recent years there has been an increasing number of cases in which unusual artistry has emerged at a very early age. Wynton Marsalis and several of Wynton's sidemen were in full bloom before their teen years were over. The Thelonious Monk Contest, in which Joey tied for third place in 1987 (an event that led to his being signed by Columbia Records) produced an amazing trumpeter in 1990, a first place winner at 17 (against competitors whose age ranged up to the early 30s).
Jazz is that unique art form in which generation gaps seem not to exist. At jazz parties, often at festivals and concerts, young men like Joey DeFrancesco interact successfully with artists old enough to be their great-grandparents. In fact, there are now as many octogenarian geniuses as teenage wonders. Among them is the bassist Milt Hinton, who played on the big-band cuts on Joey's last album.
Sometimes the arrival of young talents can be ascribed to the vastly improved scope of jazz education. Often, though, inherited ability, or exposure to the music virtually from birth, is the key. If you are going to become a jazz organist, it is wise to select a jazz organist as your father.
Such was the case with Joey. "My father doesn't play professionally any more," he told me recently. "He's an electrician now, but he was a full-time keyboard player, and I was fascinated with the sound of his Hammond B-3 organ. I started playing when I was four years old, and by the time 1 was seven I knew a lot of the jazz standard tunes." Parental encouragement clearly was a major factor in Joey's development; his father took him to hear Jack McDuff and others in various Philadelphia clubs.
Joey was born April 10,1971, in Springfield, PA, and educated in Philadelphia schools. While he was at the High School for Creative and Performing Arts, Joey's trio won a student competition. Not long afterward, he was on a television show where Miles Davis was a guest. Impressed, he asked for Joey's phone number.
Everything soon fell into place: victory in the Philadelphia Jazz Society's McCoy Tyner Scholarship competition; the Monk contest; the Columbia Records deal; and a call from Miles Davis that resulted in his touring Europe with him, (Joey played on one track of Davis's Amandla album.)
Along the way he has developed impressive gifts as a composer and even as a trumpeter. The group he heads on most cuts on the present album consists of musicians who have been working on his gigs as a leader.
Trumpeter J.. R. "Big Jim" Henry is from Boston, but now lives in Arizona. Sharing the front line with him are two promising saxophonists: Glenn Guidone on tenor ("He's from Queens, and still lives there," says Joey) and Robert Landham on alto. Landham, 27, is the brother of the drummer, 20-year-old Byron "Wookie" Landham.
The guitarist is the remarkable Paul Bollenback, whom Joey and 1 both heard for the first time when he took part with Joey in a concert in Washington. That night also marked my first in-person exposure to Joey. To hear him driving relentlessly through chorus after chorus of the blues was an experience far beyond my expectations. More recently, during another visit to Washington (when Joey played piano while the judges were busy deliberating the results of the trumpet contest), we had a little time to get together and 1 learned the details of the Part 111 album.
The opening cut, "Dr. Jekyll," was originally recorded as "Dr. Jackie" when Jackie McLean wrote and recorded it as a sideman on a 1955 record date with Miles Davis. It's a Bird-like line, a blues in Fy taken at an obscenely fast tempo, The head is played twice, once in unison, then voiced for the horns. In addition to the leader's phenomenal solo (he knocks off an entire 12-bar chorus in about nine seconds) there is some spirited work by Henry on trumpet, and a sax passage that winds up in an exciting battle. Later, Joey trades eights and fours with Wookie Land-ham before the reprise of the head.
"The End Of A Love Affair" is a 1950 song by Edward C. Redding, originally introduced by Mabel Mercer and first recorded by Dinah Shore. For this track the traditional organ-guitar-drums instrumentation was used. The rhythm is established partly in double-time but reverts to the original slow tempo as Bollenback plays the theme.
"O.E.I." is titled for a woman friend's last name. Expressing richly harmonic ideas on acoustic piano, Joey overdubbed an appropriate part on muted trumpet. The backing by Christian McBride and Wookie Landham provides a fittingly relaxed support.
"Rhythm-a-ning" is a Thelonious Monk variation on the age-old "1 Got Rhythm" changes, with dynamic contributions by all hands, including some well crafted fours by Joey and the drummer, with the latter playing the bridge before the final head.
"Wookie's Corner" is a blues open-ing with two choruses of a vamp before the attractive theme is established, based on two- and three-note
phrases. Big Jim Henry switches to flugelhorn for his solo here, and Wookie takes over before the closing statement.
"What I See" is one of Joey's most attractive originals, doubly remarkable in that he wrote it when he was all of eight years old. Note Paul Bollenback's use here of an acoustic nylon string guitar, and the fine lead and solo trumpet work by Big Jim.
"When I was on the road with Miles," Joey recalls, "the tune 'Don't Stop Me Now' was one number we played together all the time. On this one 1 played an ENSONIQ EPS-M keyboard and doubled on Harmon-muted trumpet."
Frank Loesser's "If I Were A Bell" (from the 1950 show Guys and Dolls) uses the piano trio format, with Joey starting conventionally, but building to an Oscar Petersonian passage, and from there to a somewhat outside interlude before Christian McBride's bass solo.
Joey wrote "Waltz For Dad" when he was 11. Sharing the spotlight with Bollenback and Rob Landham, he turns it into a bright and sprightly tribute.
"Blue In Green" is of course the Miles Davis standard, though Joey says, "He never played this while 1 was with him." Here as elsewhere, he updates a theme that goes back through the decades, yet retains the tune's original essence. The slow tempo seems most appropriate, as does the contrasting moments of drama and understatement by Joey. As you can discern by listening closely to Joey's shout of "Yeah, Dad!," he shares space with his father on the doubly organized "Gut Bucket Blues." Joey plays the first solo, John DeFrancesco the second, and it's Joey who leads off the fours. This is without doubt the first father-and-son keyboard record (and I'm including pianos in this sweeping claim).
When I first heard Joey in person I was impressed not only by his technique and rare improvisational skill, but by the extent to which he reminded me of Jimmy Smith, the founding father of modern jazz organ in the 1950s. More extensive listening, particularly to this album, has made it clear that whatever his original influences may have been, he is now very much his own man. This is no mean accomplishment for a performer who, only a few years ago, was still making his headway in high-school competitions. But there I go talking about age again. Just listen to Part III and, disregarding any such consideration, rejoice in what you hear.
— Leonard Feather

"Содержание индексной карты (.CUE):":

"Лог создания рипа":

"Лог проверки качества":

Joey DeFrancesco featuring Joe Doggs - Falling in Love Again (2003)







Жанр: Mainstream Jazz, Standards, Soul Jazz
Страна исполнителя: U.S.A.
Дата записи: CAPITOL STUDIO A, MAY 29-30, 2002
Год издания: Jul 8, 2003
Страна - производитель диска: U.S.A.
Издатель (лейбл): Concord
Номер по каталогу: CCD-2160-2
Источник (релизер): Моя коллекция, мой рип

Трэклист:
1.. ALL OR NOTHING AT ALL - 7:55
2.. BUT NOT FOR ME - 507
3.. FALLING IN LOVE AGAIN - 4:02
4.. LOVE FOR SALE - 7:07
5. DEARLY BELOVED - 6:03
6. CAN'T WE BEGIN AGAIN - 3:15
7. MY ROMANCE - 6:12
8. STREET OF DREAMS - 4:04
9. SECRET LOVE - 4:31
10. PENNIES FROM HEAVEN - 4:51
11. EVERYTIME WE SAY GOODBYE - 5:32

Состав:
JOEY DEFRANCESCO: THE NEW HAMMOND B-3, ORGAN AND 122XB LESLIE SPEAKER
JOE DOGGS: VOCALS
RAMON BANDA: CONGA DRUMS ON CUTS 2,5,8
ELIJAH DAVIS: TRUMPET ON CUTS 4,6,7,11
RON ESCHETE: RHYTHM GUITAR ON CUTS 2,4,7,8,10,11
KEVIN EUBANKS: RHYTHM GUITAR ON CUTS 1,4,5,9
JEFF "HAMMER" HAMILTON: DRUMS ON CUTS 2,3,6,8,10
RED HOLLOWAY: TENOR SAXOPHONE
BYRON "WOOKIE" LANDHAM: DRUMS ON CUTS 1,4,5,7,9,11
PAT MARTINO: GUITAR SOLOS ON CUTS 1,3,5,9
RALPH MOORE: TENOR SAXOPHONE ON CUT 9

ALL ARRANGEMENTS BY JOE DOGGS

"Review by Jonathan Widran":

"Содержание индексной карты (.CUE):":

"Лог создания рипа":

"Лог проверки качества":

Спасибо, Борис!! С удовольствием прослушал!