Former Rolling Stones bassist Bill Wyman has had an interesting solo career in addition to his seminal work in "the world's greatest rock 'n' roll band" from which he retired in 1993 after three decades of service. Sanctuary Records shines a light on Wyman's side projects with the release of the remastered two-CD sets 'A Stone Alone: The Solo Anthology 1974-2002' on April 25, 2006, and 'Poor Boy Boogie: The Willie And The Poor Boys Anthology' on May 9, 2006.
'A Stone Alone: The Solo Anthology 1974-2002' collects songs from Wyman's three solo albums as well as his work with Willie And The Poor Boys and The Rhythm Kings. The songs were compiled and annotated by Wyman and music expert David Wells. The liner notes booklets for 'A Stone Alone: The Solo Anthology 1974-2002' and 'Poor Boy Boogie: The Willie And The Poor Boys Anthology' both include exclusive interviews, rare photos and memorabilia.
The track listing for 'A Stone Alone: The Solo Anthology 1974-2002' is as follows:
Disc 1 - Solo Years 1974-1985 - "I Wanna Get Me A Gun, " "Monkey Grip Glue, " "What A Blow, " "White Lightnin', " "I'll Pull You Through, " "It's A Wonder, " "A Quarter To Three, " "Soul Satisfying, " "Peanut Butter Time, " "If You Wanna Be Happy, " "What's The Point, " "Ride One Baby, " "A New Fashion, " "Nuclear Reactions, " "Come Back Suzanne, " "Girls, " "(Si, Si) Je Suis Un Rock Star, " "Stuff (Can't Get Enough), " "This Strange Effect" and "Blue Murder (Lies)."
Disc 2 - Willie And The Poor Boys 1985-1992 - "Baby Please Don't Go, " "You Never Can Tell, " "Let's Talk It Over, " "Mystery Train" (live), "Tear It Up (live), "Land Of A Thousand Dances" (live) - The Rhythm Kings 1997-2002 - "Let The Good Times Roll" (live), "Rockin' Pneumonia And The Boogie Woogie Flu" (live), "Georgia On My Mind" (live), "I'm Ready" (live), "Lead Me To The Water" (live), "Baby Workout" (live), "I'll Be Satisfied" (live), "Chicken Shack Boogie" (live), "Love Letters" (live), "Jitterbug Boogie" (live), "Melody" (live), "Stop Her On Sight (SOS)" (live), "Midnight Special" (live) and "Jump, Jive & Wail" (live).
The 'Poor Boy Boogie: The Willie And The Poor Boys Anthology' track listing is as follows:
Disc 1 - 'WILLIE AND THE POOR BOYS' - "Baby Please Don't Go, " "Can You Hear Me?, " "These Arms Of Mine, " "Revenue Man (White Lightnin'), " "You Never Can Tell, " "Slippin' And Slidin', " "Saturday Night, " "Let's Talk It Over, " "All Night Long, " "Chicken Shack Boogie, " "Sugar Bee" and "Poor Boy Boogie."
Disc 2 - 'TEAR IT UP' - "High School Confidential, " "Tear It Up, " "Baby Please Don't Go, " "Medley: Ooh Poo Pah Doo/The Rockin' Pneumonia & The Boogie-Woogie Flu, " "Mystery Train, " "Chicken Shack Boogie, " "Stagger Lee, " "What'd I Say?, " "Red Hot, " "Lovin' Up A Storm, " "Medley: Poor Boy Boogie/Hound Dog/Shake, Rattle & Roll/Looking For Someone To Love" and "Land Of A Thousand Dances."
Wyman was the first member of The Rolling Stones to embark on a solo career. His first album, 'Monkey Grip, ' was released in 1974 and his second, 'Stone Alone, ' followed in 1976. Both featured performances from stellar guests including Van Morrison, Little Feat's Lowell George, Leon Russell, Dr. John, Al Kooper, Joe Walsh and his Rolling Stones bandmate Ron Wood. Wyman's third solo album, 'Bill Wyman, ' was released in 1982 and its best-known song was the flamenco/disco novelty single "(Si, Si) Je Suis Un Rock Star."
Wyman initially formed a supergroup to perform charity benefit concerts for Action Research into Multiple Sclerosis (ARMS), but this collective then went on to release two albums of R&B and early rock 'n' roll standards under the name Willie And The Poor Boys (the title of a classic Creedence Clearwater Revival album, but spelled differently). The 1985 studio album 'Willie And The Poor Boys' and the 1994 live album 'Tear It Up' (recorded in Sweden in 1992) -- both out of print -- are now compiled on 'Poor Boy Boogie: The Willie And The Poor Boys Anthology.'
The chain of events leading to the formation of Willie And The Poor Boys began in the late 1970s when The Small Faces (later just The Faces) bassist Ronnie Lane was stricken with multiple sclerosis. In 1983 Wyman then gathered many of his and Lane's all-star friends to play ARMS concerts. He was joined by two of his bandmates, Charlie Watts and Wood (himself a former Faces member), as well as The Beatles' Ringo Starr, Led Zeppelin's Jimmy Page, Free and Bad Company's Paul Rodgers, The Faces and The Who's Kenney Jones and Procol Harum's Gary Brooker. The ARMS concerts were so successful that Wyman decided to keep the project going under the name Willie And The Poor Boys. Many of the musicians who participated in the 1983 concerts performed on the 'Willie And The Poor Boys' and 'Tear It Up' albums. Other notable musicians involved include Andy Fairweather-Low and Chris Rea. Lane succumbed to multiple sclerosis in 1997 at the age of 51, but the music Wyman and their friends created as Willie And The Poor Boys will help preserve his memory.
Wyman's musical focus turned to swing jazz and jump blues when he formed The Rhythm Kings in 1995. More of his high-profile friends took part in this venture including Eric Clapton, Paul Carrack, Georgie Fame, Albert Lee, Peter Frampton and former Rolling Stones bandmate Mick Taylor. The Rhythm Kings released five albums between 1997 and 2002 but the band primarily focused on live performances, immediately becoming an international concert attraction.
Re: Бадди Рич, Денниз Чемберз и др. джазовые барабанщики! Автор:pempeДата: 02.04.06 11:26:04
Chicago is the product of consistency and keeping key core members in the band for the last 37 years. XXX is their 30th studio recording and a total demonstration of their wherewithal and greatness as a thriving unit. I am the first to say I enjoyed their older material, the first five albums where incredibly good. Over the years, they have changed members and their style but what you hear is indisputably Chicago. The reasons for their success are many and probably the most important factor that contributes to that ongoing success is that they have managed to keep that base sound intact. The all-important horns are always there and the leadership of long time members like Robert Lamm, Walt Parazaider, James Pankow, Lee Loughnane, and Bill Champlin, serve as the guiding light of this modern day musical marvel. The vocals have sounded pretty much the same since Peter Cetera was at the helm. The have managed to find clones of his vocal style, thus making any of the changes seamless and smooth to the music buying public. To say they have been a commercial success is an understatement.
There are 13 tracks on this CD and they all have the potential to be a hit single…no surprise there. Their output is comparative to The Beatles; every time they put an album out, they fill it with great and memorable songs. I cannot think of one band that is still actively recording that can do that. That is what makes Chicago so special. The first time I heard the album I thought it was a bit too pop oriented for my liking, and then as I gave it successive spins it gradually grew on me. The realization that this band had done it again hit me square between the eyes. The driving pop rhythms of love and loss are here, the great rhythm section, horns, fantastic vocals-all in place lined up like a well-practiced platoon with its marching orders. This recording is one that all the band members should be proud to add to Chicago legacy.
The tracks that had me singing in no time were “King of Might Have Been,” “Caroline,” and the made for hit single “90 Degrees and Freezing.” This is a sure bet to be a chart topper, its archetypal Chicago and it reminded of the band in their prime. Sure, I still like the risqué progressive Chicago that played those immortal dates at Carnegie Hall, but this version of the band is very good and as I said before, who else is making music like this? This is quality music, the lyrics are not offensive or negative, nor do they promote violence or drug abuse, know how much trash is out there today selling by the truckload that offers all of that?...A little too much as far as I am concerned. The jazz purists will complain as usual and the old time fans may say it has too much syrupy pop for their gullets, but you know what? Its one of the best albums I have heard this year and the musicianship is simply outstanding. Listen to it a few times, I guarantee you will be hooked, even if you do not like it the first time just like me. Yes, it is very much mainstream and easy listening but is so very good!
01. Feel Daly (4:01) 02. King of Might Have Been (3:52) 03. Caroline (3:39) 04. Why Can't We (4:07) 05. Love Will Come Back (3:48) 06. Long Lost Friend (4:33) 07. 90 Degrees and Freezing (3:52) 08. Where Were You (4:17) 09. Already Gone (6:51) 10. Come to Me (4:36) 11. Lovin' Chains (3:56) 12. Better (4:41) 13. Feel Daly (4:30)
Credits:
Robert Lamm: piano, Wurlitzer, Hammond organ, vocals Lee Loughnane; trumpet, flugelhorn, piccolo trumpet James Pankow: trombone Walt Parazaider: saxophones, flutes Bill Champlin: Hammond organ, piano, Fender Rhodes, vocals Jason Scheff: bass, vocals Tris Imbodden: drums Keith Howland: guitar
>pempe >Ну, наверное, это и не обязательно, если он может >играть джаз! >Я видела его мастер-класс! Это что-то! Здесь >и по нотам не всякий сыграет!
конечно не сыграет. не знаю кто больше сегодия стучит чет он, сольники, постоянные групы CAB и Niacin, альботы в других котандах, туры с Сантаной, Штерном и др.
Re: Бадди Рич, Денниз Чемберз и др. джазовые барабанщики! Автор:pempeДата: 01.04.06 22:15:35
>2pempe: >>In Harmony's Way очень по душе >Да,замечательный альбом.Особенно украсило участие >Майка Стерна. >Последний Lumpy Jazz тоже хорош,хоть и многовато >для меня пианизма.
И в Crossroads собрал солидных ребят: Scott Henderson, Frank Gambale, Gilbert, Steve Smith, Neil peart, T Lavitz и др. но послабее In Harmony's Way.
Re: Miles Davis - гений ХХ-го века Автор:pempeДата: 01.04.06 16:51:54
The Cellar Door Sessions 1970 Miles Davis | Sony BMG Legacy
The Cellar Door Sessions 1970 is the eighth box set edition in a series begun in 2004, moving chronologically through the trumpeter’s career with John Coltrane and Gil Evans, recorded output for Columbia from 1963-68, and extensive investigations into the sessions that yielded In A Silent Way, Bitches Brew and A Tribute to Jack Johnson. This collection, however, has less to do with this series conceptually than it does with mid to late-‘90s releases highlighting live Miles (such as Live at the Plugged Nickel or Miles Davis At Fillmore). The material on this six-CD set was recorded at the Cellar Door in Washington DC and is almost all unreleased, except for parts of the Saturday night show, which were presented in edited form on 1997’s Live-Evil.
It's not surprising that the box sets have emphasized Miles’ albums. Given that he released some of the most musically and culturally significant records in jazz, analyses of his career have usually focused on results. Perhaps more than any other jazz player, Miles is defined by his albums, a rolling snapshot of every innovation (good or bad) that came or he brought to jazz during his career. But here are six discs that are nothing more than a live document of a Miles working band—not as important as the second quintet, but consistent in concept at least. By these shows in December the lineup featured Gary Bartz (alto), Keith Jarrett (electric keys), Michael Henderson (electric bass), Jack DeJohnette (drums), Airto Moreira (percussion for most of the sets), and guest John McLaughlin for the last two discs.
Since these gigs were just gigs (albeit in a time when the rock performance aesthetic was firmly entrenched even in jazz—remember fusion was just around the corner), a listener should only assess whether the performances are worthwhile instead of getting bogged down in the group’s significance. And the performances are worthwhile mostly. The first two discs (Wednesday's first set and Thursday's second set) start off roughly with some misplaced energy.
By the second disc’s “Inamorata,” the band has finally gelled and performs the signature pre-fusion/funk explorations Miles spearheaded during this period with excellent results. The energy level is consistently high for discs three and four (Friday second and third sets) but drops somewhat when the band has to make room for the rambunctious McLaughlin on discs five and six (Saturday second and third sets).
It is a pleasure to hear Jarrett in this non-reflective energy setting and DeJohnette in full bash mode. Bartz is a different sax player than those who preceded him in Miles' bands, but the contrast is a compelling one. McLaughlin’s contributions are not his best, but it is clear what ideas he would take with him to his soon-to-be-formed Mahavishnu Orchestra.
As box sets go, this is not the revelation that Bitches Brew or Jack Johnson were. But it does show that Miles worked things out on stage like everyone else, even if what he worked out was better than most.
Track Listing: CD1: Directions; Yesternow; What I Say; Improvisation #1; Inamorata. CD2: What I Say; Honky Tonk; It's About That Time; Improvisation #2; Inamorata; Sanctuary. CD3: Directions; Honky Tonk; What I Say. CD4: Directions; Honky Tonk; What I Say; Sanctuary; Improvisation #3; Inamorata. CD5: Directions; Honky Tonk; What I Say. CD6: Directions; Improvisation; Inamorata; Sanctuary; It's About That Time.
Personnel: Miles Davis: trumpet; Gary Bartz: soprano saxophone, alto saxophone; Keith Jarrett: Fender Rhodes electric piano and Fender electric organ; Michael Henderson: electric bass; Jack DeJohnette: drums; John McLaughlin: guitar; Airto Moreira: percussion.
Re: Редкие группы Автор:pempeДата: 01.04.06 09:33:20
>Взял пару последних сольников Джеффа Берлина.Я >давно знаю,что дядька неимоверно крут.Но чтобы >играть блюз на ладовом басу с бендами и блюзовыми >аккордами... Честно говоря не ожидал:-).
In Harmony's Way очень по душе
Re: Epiphone Les Paul .... ? Автор:pempeДата: 30.03.06 22:09:03
The New Jersey Jazz Society will be presenting guitar legend Les Paul with their American Jazz Hall of Fame Award on Monday, April 10 at the Iridium Jazz Club.
The New Jersey Jazz Society and the Institute of Jazz Studies at Rutgers University established the American Jazz Hall of Fame in 1982 to recognize individuals who have earned a special place in the history of jazz. Since the first class was elected in 1983, over 200 jazz greats have been elected to the AJHOF. It has been the practice in recent years to present the AJHOF plaques to the honorees at appearances by them in the New York City Metro Area.
The 90-year-old Les Paul, who just won two Grammys at this year's awards, was born June 9, 1915, in Waukesha, WI. The seven-time Grammy Award winner and Rock and Roll Hall of Famer is the inventor of the solid body electric guitar and the pioneer of multi-track recording, the use of reverb and other now-standard recording techniques.
Paul is being honored throughout his 90th year with an array of new product releases, honors and awards fit for the father of the electric guitar. In addition to Les Paul & Friends: American Made, World Played, Capitol/EMI released Les Paul with Mary Ford: The Best of The Capitol Masters (90th Birthday Edition), a collection of Paul's finest Capitol recordings, with new artwork, bonus tracks and a package essay written by Paul himself. Last May, Paul was inducted into the National Inventors' Hall Of Fame at the Hall's Akron, OH headquarters. On June 9, the evening of Paul's 90th birthday, he was honored with the Songwriters' Hall Of Fame Sammy Cahn Lifetime Achievement Award. On June 19, an all-star group of guitarists took the Carnegie Hall stage for "All For Paul: Les Paul's 90th Birthday Salute, " a star-studded celebration presented by Gibson Guitar at the JVC Jazz Festival - New York. In addition, two new Les Paul books have been released: The Les Paul Legacy by Rob Lawrence (Hal Leonard Publishing) and Les Paul In His Own Words, a limited edition autobiography with each numbered copy signed by Paul (Russ Cochran Publishing). Guitarists around the world favor Les Paul's signature line of Gibson guitars, which debuted in 1952.
>2Primal Scream: >>Черт, но как веселиться в этом ММДМ???? >Это что,в следующем году? Далеко загадывают.Он >вроде недавно в Вильнюсе был,типа немного халтурно >было.Pempe напомнить может.
перед концертом нетого поели, здоровье пошатнулось. Играли хорошо. После концерта хлебнуьб из предложенной фляшки Дьюк неотказался.
Re: Какие концерты нас ожидают? Автор:pempeДата: 22.03.06 22:37:53