By the late 1950’s it was clear that jazz was at a crossroads. The “cool sound” of the West Coast was beginning to fade, and the “hot sound” of the East Coast was in some ways simplifying, incorporating elements of rhythm & blues, soul and gospel. Ornette Coleman began experimenting with a “freer” style of playing, and right behind him came similar innovations from Sun Ra and Cecil Taylor. Writers began to call this new kind of jazz “avant-garde jazz” or occasionally “the new thing”, and when Archie Shepp and Don Cherry formed the New York Contemporary Five, it was very much the “poster child” of this new genre. Hallmarks of the new genre were avoidance of chord changes, use of drums to create moods and levels of energy rather than regular rhythm, contrapuntal lines of different instruments, group improvisation, and the omission of chordal instruments such as piano or guitar. All of these characteristics are in evidence on this Delmark CD retrospective of the group, much of which seems to have been recorded in 1963 in Denmark. Trumpeter Don Cherry had played with Ornette Coleman, a pioneer in the new music, and two of the six compositions on this disc are credited to Coleman, with Cherry contributing a third. Yet another, “Crepuscule with Nelly” is a Thelonious Monk tune, as Monk was “avant-garde” before there was “avant-garde”. The remaining two tunes “The Funeral” and “Mik” are by the two saxophonists, Archie Shepp and John Tchicai respectively. The groups is rounded out by Don Moore on bass, and Max Roach-like J. C. Moses on drums, the latter a fine drummer whose early death of kidney failure in 1977 ended a career of much promise. By 1965, the New York Contemporary Five was largely over, with Tchicai and Moses joining trombonist Roswell Rudd in the similar New York Art Quartet. But these recordings show the importance of the Contemporary Five in the dawning era of “free jazz.” This is a recording not to be missed.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
Peggy Scott-Adams began her career in 1968, and has been a star of soul and blues for over 40 years, but she has never forgotten her gospel roots, as evidenced by her new album Back to the Roots on her own Nora Records label. This is not Ms. Adams’ first foray into gospel, as she had an earlier gospel album called God Can and He Will, and the gospel roots of her singing are evident even on her secular releases. But this new album consists of 10 classic gospel songs and new compositions, including “Hold to God’s Unchanging Hand” and Twila Paris’ “Lamb of God.” Back to the Roots may not be what fans of Peggy Scott-Adams were expecting, but, as the title says, it returns her not only to her Christian upbringing, but to the foundations on which soul and blues were built.
Peggy Scott-Adams began her career in 1968, and has been a star of soul and blues for over 40 years, but she has never forgotten her gospel roots, as evidenced by her new album Back to the Roots on her own Nora Records label. This is not Ms. Adams’ first foray into gospel, as she had an earlier gospel album called God Can and He Will, and the gospel roots of her singing are evident even on her secular releases. But this new album consists of 10 classic gospel songs and new compositions, including “Hold to God’s Unchanging Hand” and Twila Paris’ “Lamb of God.” Back to the Roots may not be what fans of Peggy Scott-Adams were expecting, but, as the title says, it returns her not only to her Christian upbringing, but to the foundations on which soul and blues were built.
Peggy Scott-Adams began her career in 1968, and has been a star of soul and blues for over 40 years, but she has never forgotten her gospel roots, as evidenced by her new album Back to the Roots on her own Nora Records label. This is not Ms. Adams’ first foray into gospel, as she had an earlier gospel album called God Can and He Will, and the gospel roots of her singing are evident even on her secular releases. But this new album consists of 10 classic gospel songs and new compositions, including “Hold to God’s Unchanging Hand” and Twila Paris’ “Lamb of God.” Back to the Roots may not be what fans of Peggy Scott-Adams were expecting, but, as the title says, it returns her not only to her Christian upbringing, but to the foundations on which soul and blues were built.
DJ Screw, the legendary Texas DJ who pioneered the Houston tendency of slowing down and cutting up records, died on November 16, 2000. Nine years later, his heirs released a double CD of Houston freestyles extracted from the various underground mixtapes that Screw did while he was living. As each mixtape consisted of a mix of major label artists and hit records, as well as local freestyles, an above-ground release of Screw’s mixtapes would prove to be problematic from a legal and copyright aspect. But the local artist freestyles were what endeared Screw to Texas fans anyway, so here are 22 banging freestyles over Screw’s classic slowed-down sonic landscape. Hawk and ESG are there of course, and the listener can feel like he is eavesdropping on a piece of Houston rap history. 11-16-09, while not a summary of the many other mixes under Screw’s name, is a good introduction to the man and the music.
DJ Screw, the legendary Texas DJ who pioneered the Houston tendency of slowing down and cutting up records, died on November 16, 2000. Nine years later, his heirs released a double CD of Houston freestyles extracted from the various underground mixtapes that Screw did while he was living. As each mixtape consisted of a mix of major label artists and hit records, as well as local freestyles, an above-ground release of Screw’s mixtapes would prove to be problematic from a legal and copyright aspect. But the local artist freestyles were what endeared Screw to Texas fans anyway, so here are 22 banging freestyles over Screw’s classic slowed-down sonic landscape. Hawk and ESG are there of course, and the listener can feel like he is eavesdropping on a piece of Houston rap history. 11-16-09, while not a summary of the many other mixes under Screw’s name, is a good introduction to the man and the music.
DJ Screw, the legendary Texas DJ who pioneered the Houston tendency of slowing down and cutting up records, died on November 16, 2000. Nine years later, his heirs released a double CD of Houston freestyles extracted from the various underground mixtapes that Screw did while he was living. As each mixtape consisted of a mix of major label artists and hit records, as well as local freestyles, an above-ground release of Screw’s mixtapes would prove to be problematic from a legal and copyright aspect. But the local artist freestyles were what endeared Screw to Texas fans anyway, so here are 22 banging freestyles over Screw’s classic slowed-down sonic landscape. Hawk and ESG are there of course, and the listener can feel like he is eavesdropping on a piece of Houston rap history. 11-16-09, while not a summary of the many other mixes under Screw’s name, is a good introduction to the man and the music.