Monday, March 5, 2012

Scott Joplin - The Red Back Book, by The New England Conservatory Ragtime Orchestra

Algunas de las más conocidas composiciones de Ragtime, pero no interpretadas en el instrumento habitual en esta música, sino por toda una orquesta de cámara. ¿El resultado? Fascinante. Y contagioso. De hecho, éste álbum -junto a la peli 'El Golpe', naturalmente- fue uno de los responsables en los primeros años 70 de que pianistas, y guitarristas también, se animaran casi en masa a desempolvar las partituras de Scott Joplin. Partituras que acumulaban por aquel entonces varios dedos de polvo injustamente, llegaron a sonar, hasta el hartazgo o casi, en discos, más discos, películas, más películas, y hasta en las máquinas tragaperras de medio mundo y parte del otro. Algo de culpa en esto tuvo el señor Gunther Schuller y su Orquesta de Ragtime del Conservatorio de Nueva Inglaterra. Hoy día se le añade el calificativo de 'clásico' a prácticamente cualquier cosa. Scott Joplin es el clásico norteamericano por definición, el Ragtime. Joplin no sabía italiano, para añadir las correspondientes anotaciones de tempo, pero dejó bastante claro en muchas de sus partituras cómo debía tocarse esta música: no acelerarse, ¡nada de correr por correr!
-Jay Bee Rodríguez



Back around 1910, John Stark published "Fifteen Standard High Class Rags," a folio soon nicknamed "The Red Back Book" and containing colorful arrangements for 11 ragtime pieces, mostly by Scott Joplin. In 1973 Gunther Schuller and the New England Conservatory Ragtime Ensemble recorded seven of the charts plus a new reworking of "Sugar Cane"; a pair of piano solos by Myron Romanul (of "The Entertainer" and "Sun Flower Slow Drag") round out this highly enjoyable set. Hearing Joplin's music interpreted by a group consisting of trumpet, trombone, clarinet, flute/piccolo, tuba, piano, bass, drums and a string quartet helps cast new light on these vintage themes. The album is highly recommended for ragtime collectors.

Here is music by the most prominent American ragtime composer, Scott Joplin, performed in a manner (11-12 instruments) slightly different from the usual (solo piano). The program contains 60 minutes of the familiar (and, in a couple instances, the unfamiliar) Joplin music that became popular at the turn of the 20th century, then fell into oblivion, and had a revival in the early 1970s.
This cd brings together two lps released by EMI/Angel during that '70s revival: "Red Back Book" containing 8 selections performed by students from the New England Conservatory conducted by Gunther Schuller; and "Elite Syncopations", which includes 8 pieces featuring pianist Ralph Grierson with the Southland Stingers. Gunther Schuller's distinguished career has included a crucial role in the third-stream movement, which sought to fuse jazz and classical composition and flourished in the late 1950s and early '60s. Schuller also wrote a series of brilliant musicological studies of early jazz. As musical director of the New England Ragtime Ensemble, he has brought very high standards to performance of classic ragtime compositions, beginning with the 1973 recording The Art of Scott Joplin, devoted to the form's most famous composer. The Art of the Rag, recorded in 1989, takes a different tack, mixing pieces of classic ragtime from the beginning of the 20th century with contemporary compositions that work within the form's structural and rhythmic patterns.

Whether the work is ancient or modern, the Ensemble brings high precision, genuine vigor, and a fresh luster to the material. Among the fascinating period pieces are relatively well-known works by Joplin, including "Heliotrope Bouquet," and by Jelly Roll Morton, whose "Black Bottom Stomp" and "Grandpa's Spells" seem to travel back in time from their jazz origins. Less well-known but equally deserving of attention are James Reese Europe's "Castle Walk" and "Castle House Rag." Among the modern works, Schuller's own "Sandpoint Rag" and Robert Carriker's "Mattapan Rag" sit most comfortably in the form.
-Stuart Broomer


01. The Cascades

02. Sunflower Slow Drag

03. The Chrysanthemum

04. The Ragtime Dance

05. Sugar Cane

06. Easy Winners

07. The Entertainer

08. Maple Leaf Rag
09. Elite Syncopations
10. Heliotrope Bouquet

11. The Nonpareil

12. The Strenuous Life

13. The Sycamore
14. Binks' Waltz

15. Eugenia

16. Something Doing


Recording information: Jordan Hall, New England Conservatory, Boston, MA (02/12/1973-06/25/1974); Studio A, Capitol Records, Hollywood, CA (02/12/1973-06/25/1974).

Arranger: George Sponhaltz. Dir.: Gunther Schuller.

Personnel: Gerald Vinci, Tibor Pusztai, Juan Ramirez-Hernandez, Nathan Ross (violin); Juan Dandridge, Allan Harshman (viola); Bruce Coppock, Marie Fera (cello); Ronnie Lang (flute, piccolo); Victor Sawa, Dominic Fera (clarinet); Charles Lewis, John Audino, Mario Guarneri (trumpet); Dick Nash (trombone); Gary Ofenloch, Tommy Johnson (tuba); Myron Romanul (piano); Mark Belair, Shelly Manne (drums).


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Sunday, February 26, 2012

Big Joe Turner: Texas Style

Otro formidable bluesman fallecido en los años 80 y otro formidable disco de la serie Barclay House of the Blues que, salvo un par de rellenos inevitables, sigue siendo a día de hoy una de las más logradas colecciones de grabaciones de blues en Europa, fácilmente comparable a lo mejorcito del sello danés Storyville, por ejemplo y, por qué no, comparable a las mejores grabaciones americanas de cualquier época, caramba. Amén de los simpáticos solos de Slam Stewart -como era típico en él, tarareando al unísono con el contrabajo- son a mi juicio los marfiles de Milt Buckner los que confieren a esta sesión de 1971 un brillo muy, pero que muy especial. Parece mentira, un tipo, el Buckner, que ha pasado a los anales fundamentalmente por sus grabaciones con el Hammond B3, pero que aquí, sin apenas moverse de una única tonalidad, ofrece toda una lección magistral de cómo se acompaña al piano a un cantante de blues. Vamos, que no echa uno de menos a Pete Johnson ni al combo de Basie en ningún momento. Una -otra- agradable sorpresa de los monsieurs de Barclay, la decisión de emparejar a semejantes monstruos, y una pena que Buckner no se haya prodigado más en semejantes ambientes con el piano mondo y lirondo.
Y el cantante... en fin, el shouter de todos los shouters le da un repaso a sus grandes éxitos que es que los deja tiesos, pero tiesecitos. Big Joe saca pecho y, bueno, se pone a declamar sus historias de taberna como lo que era, el Pavarotti del Blues. Lo siento por la herejía, pero, para mí, ni los 30's con Pete Johnson, ni Atlantic ni gaitas: yo me quedo con éste peaso álbum por encima de cualquier otro. En su día trituré el cassette y el LP correspondiente de tánto ponerlos y, como los mp3 parece que no se gastan, pues éso. ¡'Callejón del Agua Street'!. :-)

-Jay Bee Rodríguez

01 - T.V. Mama
02 - Hide and Seek
03 - I've Got A Pocket Full Of Pencils
04 - Rock Me Baby
05 - Texas Style
06 - Cherry Red
07 - 'T Ain't Nobody Business
08 - Money First


hotjazzandcoolblues

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Professor Longhair: Rock and Roll Gumbo

Aunque adoro a Jelly Roll, a Jack Dupree, a Fats Domino y a James Booker, naturalmente, cuando se trata de piano de Nueva Orleans, éste acaba siendo sin la menor duda mi disco de la isla desierta. La presencia de Clarence Gatemouth Brown, que en más de un momento le saca chispas al fiddle y a su Gibson repujada, es la guinda del pastel. Y el confitero, maestro obrador, chef de lujo en la cuna de la gastronomía musical americana, ahí está, el irrepetible Henry Roeland Byrd, alias Professor Longhair, 'Fess para los amigos. El hombre que, sin pretensión alguna -más bien todo lo contrario, si atendemos a su nada deslumbrante biografía, trufada de toda clase de despropósitos y desventuras profesionales-, con un repertorio más que escueto, y con un estilo vocal cuanto menos 'poco serio', llegó e instauró para los restos la cátedra del piano moderno de Nueva Orleans con todas las mayúsculas. Sí, el Profesor llegó a cruzar el Atlántico en una ocasión, casi por casualidad -ahí está su magnífico Live In London-, pero esta inmejorable sesión de 1974 no es europea: es más sureña que la sopa gumbo, aunque la edición más elegante, para mi gusto, es precisamente la francesa, con esa soberbia portada de Jean Vern y un programa al que no falta ni sobra ni una pata de gamba. "The men call me Doctor Professor Longhair, but the women call me 'a little loving man'..."

-Jay Bee Rodríguez


01 - Junco Partner
02 - Meet Me Tomorrow Night
03 - Doin' It
04 - How Long Has That Train Been Gone
05 - Tipitina
06 - Rockin' Pneumonia
07 - Jambalaya (On The Bayou)
08 - Mean Old World
09 - Stag O Lee
10 - Mess Around
11 - Hey Now Baby
12 - (They Call Me) Dr. Professor Longhair


Henry Roeland Byrd; Roy Bird, Fess, A. K. A. Professor Longhair (piano, vocals),
Clarence "Gatemouth" Brown (guitar, violin),
Julius Farmer (bass),
Edwin "Sheeba" Kimbraugh (drums),
Alfred "Uganda" Roberts (conga).

Additional personnel:
Jerry Jumonville (baritone & tenor saxophones),
Steve Madaio (trumpet).

Recorded at Studio In The Country, Bogalusa, Louisiana
on April 3-4, 1974.


hotjazzandcoolblues

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Willie Mabon: Cold Chilly Woman

Aunque haya quedado para los anales sólo como uno de tántos bluesmen de un único éxito -I Don't Know, grabado para Chess en 1952-, Willie Mabon merece ser recordado como un excelente ejemplo de la tradición pianística que fundaron Leroy Carr y Big Maceo, actualizada en los 40 y 50 por Charles Brown y Ray Charles fundamentalmente. Un músico que, sin duda, mereció mejor suerte, pues ya a finales de los años 60 hubo de retirarse de la escena profesional para ganarse la vida como camionero, y sólo encontró su hueco en el exilio durante algunos años, falleciendo en Paris en 1985, apenas cumplidos los 60 de edad. Esta sesión intimista de 1972 en formato de trío es, en mi opinión, su mejor legado.
No tenemos aquí las revisiones de viejos éxitos propios o ajenos que deslucen en parte el resto de su discografía, y podemos disfrutar a placer de esa curiosa melange de tradición y sofisticación que le caracteriza, su contundente juego pianístico y ése inconfundible e irónico saborcillo down-home a lo Jimmy Reed, de quien probablemente tomó la idea de añadir la armónica. Feliz idea, por cierto. Disfruten del estilo, a la vez insólito y familiar, del único pianista-armonicista de la Historia del Blues.

-Jay Bee Rodríguez


01.'Round for You
02.Baby Why Don't You Write to Me

03.Michelle

04.Guilty Blues

05.Lucinda

06.Why Did It Happen To Me

07.Cold Chilly Woman

08.Blue Piano in Bordeaux

09.Shakin' The Boogie



hotjazzandcoolblues

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Wednesday, February 22, 2012

The Very Best of Otis Spann

This is my own 'best of' compilation of one of the greatest blues piano player ever, Otis Spann, famous by his work with the Muddy Waters blues band -he did some superb recordings with Lonnie Johnson and Sonny Boy Williamson II in Europe too- , but a sensational bluesman in his own right. I've enclosed some of his very best boogie and mid-tempo instrumentals and of course also some of his soulfulest vocals ever, from the 1960 Candid sessions with Robert Jr Lockwood, to some of his gems for Bluesway, Vanguard and Testament Records, plus a marvelous single with harp master Big Walter Horton. As a bonus -as 'half ain't been told'- I've added a full Storyville album too, some of his very best solo stuff, Blues Masters Vol. 10 - Otis Spann, recorded in Denmark in 1963. Pure blues mastery.

-Jay Bee Rodríguez



The Best of Otis Spann

01. Candid_1-01 - Can't Stand Your Evil Ways (tk 2)_C
02. Candid_1-04 - Walkin' The Blues.(1960)_C
03. Candid_1-05 - Otis In The Dark_E
04. Candid_1-06 - This Is The Blues_D
05. Candid_1-07 - Worried Life Blues_C
06. Candid_1-08 - Cow Cow Blues_Bb
07. Candid_1-09 - Beat-Up Team_E
08. Candid_1-11 - My Home Is On The Delta_G
09. Candid_1-12 - It Must Have Been The Devil_A
10. Candid_2-10 - Otis' Blues_A
11. Candid_2-11 - Half Ain't Been Told_Am
12. Candid_2-12 - Can't Stand Your Evil Ways (take 4)
13. TheBluesOf - I_Got_A_Feeling (1964)_G
14. TheBluesOf - Keep_Your_Hand_Out_D
15. TheBluesOf - Lost_Sheep_In_The_Fold_C
16. TheBluesOf - Meet_Me_In_The_Bottom_G
17. TheBlueswayRec - Diving Duck_C
18. TheBlueswayRec - Nobody Knows Chicago_G
19. Vanguard - Marie (1967)_C
20. Vanguard - S.P. Blues_F
21. Vanguard - Spann's Stomp
22. wBigWalter - Bloody Murder_D
23. wBigWalter - G.B. Blues (Testament)
24. Testament_05. You Can't Hide (1969)_C
25. Testament_08. Vicksburg Blues_F
26. Testament_11. See See Rider_Bb
27. Testament_Mr. Jelly Roll Baker_D

hotjazzandcoolblues


The Blues Masters vol.10 - Otis Spann

01. Good Morning Mr. Blues
02. Love, Love, Love
03. Riverside Blues
04. Must Have Been The Devil
05. Jelly Roll Baker
06. Trouble In Mind
07. Worried Life Blues
08. T.B. Blues
09. Don't You Know
10. Goin' Down Slow
11. The Skies Are Blue
12. Keep Your Hands Out Of My Pocket
13. Boots and Shoes

hotjazzandcoolblues

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Monday, November 28, 2011

Scott Joplin: Ragtime Classics

Un poco atronadora la toma de sonido en esta "anónima" versión de una buena parte de los clásicos del rey del Ragtime. Pero, en fin, son todos los que están y, como introducción, pues bueno, podría servir. Más cositas de ragtime en próximos posts.
-Jay Bee Rodríguez

Scott Joplin (ca. 1867 – April 1, 1917) was an American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later dubbed "The King of Ragtime". During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the "Maple Leaf Rag", became ragtime's first and most influential hit, and has been recognized as the archetypal rag.


Joplin was born into a musical African American family of laborers in Northeast Texas, and developed his musical knowledge with the help of local teachers. During the late 1880s he travelled around the American South as an itinerant musician, and went to Chicago for the World's Fair of 1893 which played a major part in making ragtime a national craze by 1897.
Publication of his "Maple Leaf Rag" in 1899 brought him fame and had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life with royalties of one cent per sale, equivalent to 26 cents per sale in current value.

During his lifetime, Joplin did not reach this level of success again and frequently had financial problems, which contributed to the loss of his first opera, A Guest of Honor. He continued to write ragtime compositions, and moved to New York in 1907. He attempted to go beyond the limitations of the musical form which made him famous, without much monetary success. His second opera, Treemonisha, was not received well at its partially staged performance in 1915. He died from complications of tertiary syphilis in 1917.

Joplin's music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album of Joplin's rags recorded by Joshua Rifkin, followed by the Academy Award–winning movie The Sting which featured several of his compositions, such as "The Entertainer". The opera Treemonisha was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.
(Wikipedia)


01.Bethena
02.Euphonic Sounds
03.Fig Leaf Rag

04.Gladiolus Rag

05.Heliotrope Bouquet
06.Maple Leaf Rag

07.Pine Apple Rag

08.The Ragtime Dance

09.Scott Joplin's New Rag

10.Solace: A Mexican Serenade

11.Stoptime Rag
12.Sunflower Slow Drag

13.Swipesy

14.The Cascades
15.The Easy Winners
16.The Entertainer

17.A Breeze from Alabama
18.Antoinette

19.Binks' Waltz

20.Combination March

21.Eugenia

22.Felicity Rag

23.Original Rags

24.Palm Leaf
25.Paragon Rag
26.Search-Light Rag

27.Sensation

28.Sugar Cane

29.The Great Crush Collision

30.The Favorite

31.The Nonpareil

32.The Strenuous Life
33.Wall Street Rag


hotjazzandcoolblues
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