Lee Friedlander of Ray Charles playing at the Newport Jazz Festival on July 5, 1958
This album was recorded in its entirety at The Newport Jazz Festival in
Newport, Rhode Island on July 5, 1958 by special arrangement with the
Directors of The Newport Jazz Festival.
More high energy blues from this award-winning harmonica virtuoso.Strong
Little Walter feel (includes the man's 'Juke', amongst other tracks)
and a rocking band featuring Tim Kaihatsu (later with Johnny Winter).
Between 1965 and 72, James Royal (Real name Nairn) released 16 singles on three separate labels. The first credited the Hawks as backing band; the last, Two of Us, was a duet with Liz Christian. All intervening releases were billed as solos. Three follow-ups to She's About A Mover – Work Song, Call My Name and It's All in the Game – all featured on the Radio London playlist, but it was the third release, the soulful Call My Name, that fared best in the Big L Fab Forty, peaking at #13 on February 12th, '67.
Although never featuring at all in the UK Nationals, it went on to be a huge success on the continent. The song was penned by Ralph Murphy, giving him his first songwriting success and launching an illustrious career in the music business. (NB: Call My Name is not the song of the same title by Them (written by Tommy Scott) that had already entered the Fab Forty in March '66.)
The history of James Royal, his backing band and his solo career, as it
appears on various internet sites, is fraught with conflicting and
confusing information.
The trendily-monikered James Royal Set (sometimes billed - perhaps erroneously - as James Royal and the Royal Set) played both London's Marquee and Dunstable's California Ballroom during 1966, and toured with Johnny Cash and Carl Perkins in 1968. Rick Wakeman's keyboard talents were employed for the first of the Beeb sessions. His personal website dates the recording as 1966, but says it was for Radio One, which is not possible, as the station was not on the air till 30th September 1967. (Any sessions laid down prior to that would have been for the Light Programme.) A more probable recording date would be late '67 or '68.
In a Penny Valentine interview on the Yes website yesmuseum.org, Rick Wakeman recalls that the highlight of his week (the year is unspecified) were the rocking sessions at the Red Lion, Brentford, where jammers included, "John Entwistle, James Royal, Nick Simpler, Mitch Mitchell – everyone turned up for these incredible rock and roll evenings, and I was really honoured to be there playing with these great musicians." By Radiolondon.uk.
Fausto Papetti (28 January 1923 – 15 June 1999) was an Italian alto saxophone player. He is unarguably one of the greatest & most accomplished Saxophonists of all times. His works has been widely well-known all over the world for the last six decades. He has played the majority of most famous world Hits and pop & jazz songs of 20th century, in 45 years of his career.
His performance of the song "Love's Theme" (originally by Barry White's Love Unlimited Orchestra) was featured on the breakbeat compilation "Ultimate Breaks and Beats".
Papetti became well known for all the 1960s and 1970s, and all his new album reaches the top of the hit parade; he was also printed in all the Latin American market. During the period of greatest splendour, the 1970s, Papetti also produced two collections a year, the best-selling being the 20th one, which came up first in 1975. These records are also characterized for the sexy covers. He became a real father of that musical kind, and in the 1970s many imitators appeared, like Johnny Sax or Piergiorgio Farina.He died in San Remo.
Taste :
Fausto Papetti - Meeting (from lp Raccolta N° 12)
Fausto Papetti - Blue Moon (from lp I Remember N° 4)
Of the four albums Oscar Brown Jr. recorded for Columbia in the early to mid-'60s, Between Heaven & Hell is perhaps the least celebrated, in part because it was the last to get onto CD (taking until 2010 to do so). Brown did his best work during this stint for Columbia, however, and this, the second of those LPs, fits comfortably into the flow of his peak as a recording artist. It's entirely characteristic of his sound of the period, Brown delivering sly lyrics with a hipster feel to bluesy jazz arrangements with big-band verve. The most famous, and best, of the songs is the first, "Mr. Kicks," with its up-for-anything devil-may-care vibe. But it's a pretty consistent album, benefiting from some arrangements by Quincy Jones, Brown maintaining an unflappably suave posture throughout. Sometimes that stay-on-the-sunny-side charm might verge on the smug and smarmy to some listeners, and there isn't as much of the more serious social commentary you find on some of his other efforts. The seamier side of life does surface sometimes, however, if in a rather lighthearted manner on tracks like "Opportunity, Please Knock." More satisfying outings in that regard are "World in Grey" and two poems to which Brown set music, "Elegy" (by Gwendolyn Brooks) and "When Malindy Sings" (by Paul Lawrence Dunbar).by Richie Unterberger
Vanguard may have spelled his name wrong (he prefers Charlie
or Charles), but the word was out as soon as this solo debut was
released: here was a harpist every bit as authentic, as emotional, and
in some ways as adventuresome, as Paul Butterfield.
Similarly leading a Chicago band with a veteran black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite
played with a depth that belied his age -- only 22 when this was cut!
His gruff vocals were considerably more affected than they would become
later (clearer, more relaxed), but his renditions of "Help Me," "Early
in the Morning," and his own "Strange Land" stand the test of time.
He
let his harmonica speak even more authoritatively on instrumentals like
"39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha
Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redemptor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's
snakey, stuttering style really stands out -- notably on "Help Me," his
quirky original "4 P.M.," and "Chicken Shack," where he truly makes you
think your record is skipping.
Nick Curran & the Nitelifes - Player! 2004 (Blind Ping)
Curran began his professional career at age nineteen, leaving Maine to tour with Ronnie Dawson, "The Blonde Bomber". Although Dawson was primarily a rockabilly musician, many blues and punk fans appreciated his performances. He taught Curran not to get pigeonholed. Curran toured next with Texas rockabilly doyenne Kim Lenz, moving to Dallas to join her backup band the Jaguars for two years, and performing on Lenz’s recording, The One And Only. Curran would stay with the Jaguars for two years. He is also featured on Lenz’s latest CD, It’s All True, and toured with her in the summer of 2009.
In 1999 the Texas Jamboree label issued Curran’s debut solo recording, Fixin' Your Head. As he would do on all future CDs, Curran used vintage recording equipment to achieve the feel and sound of old 45s and 78s, and the LPs of the 1950s. To support the recording he formed the band, Nick Curran & the Nitelifes.
From 2004 to 2007 Curran played with The Fabulous Thunderbirds appearing on their 2005 recording, Painted On. Also during that time, Curran and bassist Ronnie James started the punk band Deguello, saying that it “sounded as if Little Richard sang with The Ramones.”
In 2008 Curran formed The Attitudes with Nick, singing and playing drums standing up, and with guitarist CoffeeBoy Johnson. "This band is like when you and your buddy wanted to have a band in high school and there was no bass player. We just play what ever we wanted to," according to CoffeeBoy Johnson. Their set consisted of covers of The Misfits, The Ramones, Howlin' Wolf, Jimmy Reed, Muddy Waters and Little Richard. "We wanted to give the black keys a run for their money." Curran performed four songs in a scene in the 2008 HBO Series, True Blood, based on The Southern Vampire Mysteries by Charlaine Harris, which explores the co-existence of humans and vampires.
After performing a solo show in November, 2008, Curran formed the rock ‘n’ roll roots band, The Lowlifes, who were critically acclaimed and became a mainstay on Little Steven's Underground Garage, earning three "Coolest Song In The World" titles with tracks from the album, Reform School Girl. Curran was also in the Austin-based punk/rock ‘n’ roll band The Flash Boys. In 2009, Curran was diagnosed with oral cancer. As of June 2010, he had been deemed cancer free, but by April 2011 the cancer had returned and he was undergoing treatment. Curran died on October 6, 2012, at the age of 35.
Although It's My Life, Baby! was decent mid-'60s electric Chicago blues, coming so soon after Junior Wells' 1965 classic Hoodoo Man Blues -- one of the greatest blues LPs ever -- it was something of a disappointment. Wells' chief right-hand man for Hoodoo Man Blues, guitarist Buddy Guy,
was still on board for these recordings, but the band arrangements
weren't quite as tight. More crucially, the material wasn't as good or
innovative, giving far more weight to slow blues with standard
progressions, and relatively little attention to the funk-soul-Latin
influences that had supplied several of Hoodoo Man Blues'
finest moments. Finally, the decision to mix studio recordings with
live tracks (recorded at Pepper's Lounge in Chicago) could be
questioned, as it lent the record an inconsistency, particularly as
different bands were used live and in the studio. Taken on its own
terms, however, it's certainly respectable, at times revving up the
energy for an infectious bounce. "Country Girl," for instance, stands in
peppy contrast to the relatively sleepy slow tunes; "Shake It Baby"
revives some of the soul feeling of the Hoodoo Man Blues sessions; and "(I Got A) Stomach Ache" is funky in a silly but fun way.
