(2010/VB) NTSC, Code 4, Stereo, DD 5.1, DTS 5.1, 16:9, 90 Min., English/F/I. A Story of Jazz In Europe. A Film by Julian Benedikt. ´Play Your Own Thing´ is an ecploration of the origins, first steps and changes of direction that have repeatedly occured in European jazz in the search for that elusive ´voice of one´s own´. And when American jazz entered Europe, artists from both sides of the Atlantic soon began working together, a collaboration that would prove eminently fruitful. Accompanied by rare archive material feat. such jazz greats as Miles Davis, Louis Armstrong, Duke Ellington, Ben Webster and Bud Powell, this unique document offers a collection of sparkling gems uncovered on the path through a little-known chapter in the history of this highly musical art form. Appearances by: Coco Schumann, Dee Dee Bridgewater, Till Brönner, German Allstars, Klaus Schulz, Don Cherry, Marilyn Mazur a.o. Overstock - special price offer!
Deutsch & English, 132 pages/Seiten - 15/21 cm - Paperback - HOT DANCE BANDS IN GERMANY - A PHOTO ALBUM - VOL.1: THE PRE-HISTORY HEISSE TANZMUSIK IN DEUTSCHLAND - EIN FOTOALBUM - DIE VORGESCHICHTE ´Much has been written about jazz. To-day it is widely accepted that both European and Afro-American roots are of equal importance. However, while the European music traditions have been researched in great detail, hardly any documentation deals with the black pre- history of jazz in Europe...´ - from the introduction - ´Viel ist geschrieben worden über die Herkunft des Jazz. Heute kann als gesicherte Erkenntnis gelten, daß europäische und afro-amerikan. Wurzeln gleichermaßen wichtig sind. Während jedoch die europäische Musikgeschichte relativ gut erforscht ist, sind bisher kaum Dokumente zur (schwarzen) Vorgeschichte des Jazz in Europa vorgelegt worden...´ - aus der Einführung -
(2015/Eller Soul) 13 tracks. Swingster John Cocuzzi has New Orleans flavor and East Coast class, playing with passion and intensity on piano, vibes and drums, entertaining crowds nationwide and in Europe. Dynamic style. Diverse rhythms. Swingin´ & burnin´ jazz. Jumpin´ blues & boogie-woogie. Lush & sultry ballads
(2017/El Toro) 13 Tracks - Aisha’s earliest influences incorporated everything from Elvis and Sarah Vaughan to Billy Bragg and Northern Soul and once drawn into London’s incendiary rockabilly club scene, she felt the irresistible pull of black American Rhythm & Blues as a call to action, setting up her first band Tiger Lily and the Jitterbugs, with which she performed throughout the UK and Europe for several years. Subsequently, she was the first vocalist with the 10 piece big band, Blue Harlem performing Swing and Jump Jive. Throughout this time, she also sang Jazz and Blues in a variety of combos. She is currently working in England and Europe with ongoing Projects in Spain and London. Recent performances include events with the Aisha Khan R&B Revue, Blue Harlem, Cherry Casino & the Gamblers Big Jamboree and the Velvet Candles. She has just returned from the Screamin’ festival in Calella where she debuted the outstanding music from her new album release with her band, The Rajahs. Aishaddiction is packed full of stunning original material and featuring outstanding musicianship plus special guests!
(2007 ´Delmark´) (67:03/10) ´Recorded live at Buddy Guy´s Legends & Rosa´s Blues Lounge, Chicago - August 20 & 21, 2007´ - Nach dem auf CrossCut veröffentlichten ´Live In Europe´-Album (ccd 11047, 1994) nun die zweite Live-CD (bzw. erste Live-DVD) des Chicagoer Gitarristen. Mit seiner gelungenen Fusion von Jazz und Blues hat er einen eigenen Stil entwickelt, der sich perfekt in das Chicagoer Bluesgenre einfügt. Rund, flüssig und dennoch kraftvoll, selten verspielt und grundsätzlich individuell klingt Specter, der sich auch hier von Sängern unterstützen lässt. Tad Robinson und Jimmy Johnson bringen eine Soulnote herein, während Sharon Lewis den Blues heraus schreit. Super-Band. Ein ganz ausgezeichnetes Album
(1993/Gabriel Musik) Andy Lee Lang - Der österreichische Botschafter des Rock´n´Roll Er fing an, Klavier zu spielen, als er 6 Jahre alt war. 1985 gründete er seine erste Band - ´´Sunset´´. 1988 wurde der Name Andy Lee Lang geboren. 1990 nahm er seine erste CD ´´Back To Rock´n Roll´´ und ein Jahr später die CD ´´Rockin´ Piano Man´´ auf. Er trat in vielen TV- und Radiosendungen auf und hatte Live-Auftritte mit österreichischen Stars wie Jazz-Gitti, Tony Wegas & The Untouchables. Er unterstützte Percy Sledge, Fats Domino, Jerry Lee Lewis und Wanda Jackson und spielte mit internationalen Stars wie Rocco Granata, Big Jay McNeely, The Magic Platters, Hans Theessink und vielen anderen. 1992 war er der Klavierspieler von Chuck Berry (Europe Tour 1992). Im Dezember 1992 hatte Andy Konzerte in Los Angeles und Las Vegas und 1993 ist er in Marokko, Frankreich, der Schweiz, Deutschland und natürlich in Österreich gebucht. Dies ist Andy Lees dritte CD und er sagt: ´´Diese Platte ist eine Widmung an meine Rock´n Roll Heroes und eine Widmung an meine Fans´´. Musiker Andy Lee Lang Klavier, Orgel, Lead Vocals, Backing Vocals Michael Hoglinger Gitarren Wolfgang Hering Bassgitarre, Backing Vocals auf Track 13 Harald Hering Schlagzeug, Backing Vocals auf Track 13 Martin Harms Tenor -, Alt -, Bariton -, Sopranosaxophon, Backing Vocals auf Track 13 Gerhard Cemek Trompete, Flugelhom Christian Radovan Posaunen Arrangements: Martin Harms aufgenommen in der Power Sound Factory und in den Vienna Lusthouse Studios im Februar / März 1993, gemischt in den Vienna Lusthouse Studios, arrangiert und gemischt von Michael Schobinger Produziert von Reinhart Gabriel und Bernd Stromberger
(1992/Avenue-Rhino) 5 tracks - This is the original sealed first CD pressing on the Avenue/Rhino Label from 1992! Performing around the L.A. area during the late ´60s. Lonnie Jordan (keyboards), Howard Scott (guitar), B.B. Dickerson (bass). Harold Brown (drums). Charles Miller (saxophone), and Papa Dee Allen (percussion) were members of The Nightshift, a club act that mixed R&B covers with originals and backed up a rotating cast of singers on stage. Prior to this, most of the musicians had been in The Creators, who had likewise played the local circuit and released a few little-heard singles. The Creators/Nightshift nucleus was not a typical club act. ´Our influences and upbringing made us different,´ says Jordan. ´Howard and I were raised in Compton (south of L.A.). and we heard a lot of mariachi and salsa music from the Latin people there. And I was also listening to ska, jazz organ players, a variety. Sometimes club owners didn´t understand our music —they wanted us to sound like Booker T. & The MG´s or whatever else was happening back then.´ Besides mainstream R&B vocalists. The Creators found themselves backing up psychedelic sax player Jay Contreli in the mid-´60s. an experience that gave them a foretaste of the far-ranging improvisations they would later perform with Burdon. The Nightshift came to the attention of Goldstein, then enjoying considerable success as the head of a rock poster company. Previously, he had compiled an impressive track record as a New York-based bandmember (The Strangeloves), songwriter (for The Monkees and Every Mother´s Son, among others), and producer/writer (of The Angels´ ´My Boyfriend´s Back´ and The McCoys´ ´Hang On Sloopy´). Goldstein was putting such activities on hold when sometime Nightshift bass player Peter Rosen (who also worked for the poster company) told Jerry about his group. ´I thought their music was a real interesting mix of funk and Latin,´ says Goldstein. ´The Nightshift had an interesting direction, but they were still looking for something...´ During late ´68/early ´69. Goldstein became reacquainted with Burdon, who was half-seriously threatening to return to England to shovel coal for a living. Goldstein suggested instead that he check out The Nightshift. then playing a stint as backup band to ex-football star Deacon Jones at a club called The Rag Doll in nearby North Hollywood. One night in early 1969, Goldstein, Burdon, and Oskar stopped by to hear the band laying down the grooves behind Jones´ athletic routines. At the end of the night. Oskar jumped on-stage and jammed up a storm — at the time, the group thought this harmonica wizard was actually Burdon. Events moved rapidly from that point onward. Burdon and Oskar had found their group. though The Nightshift let several horn players go in order to become War. Burdon had the novel idea of creating a horn section with just harmonica and saxophone. According to Jordan, Oskar fit in from the beginning: ´It was natural — we were already used to the harmonica players we grew up with in Compton. so it was very easy to bring Lee in.´ After only a few weeks of rehearsals, Burdon and War began performing live. One of their first gigs was at the Devonshire Downs rock festival before a crowd of 100,000. Months of steady touring took them across the U.S. and Europe. ´They never did Animals songs,´ Goldstein recalls of these early shows. ´Eric was doing something totally different. It was like a jazz band, and Eric could improvise vocals on the spot. Every night, the same song would be different lengths. Sometimes. they´d do three- or four-hour sets — it was just magic.´ This emphasis on spontaneous creation carried over into the sessions for Eric Burdon Declares War. Basic tracks were recorded January 2-4. 1970, at Wally Heider´s studios in San Francisco, with overdubs done at Crystal in Los Angeles. The free-flowing approach of the album starts immediately with ´The Vision Of Rassan,´ a piece that begins with a jaunty gospel/rock feel before sliding into a horn-driven soul-revue sound. ´That song was a tribute to [jazz reed player] Roland Kirk.´ says Harold Brown. ´Eric turned us on to Kirk´s music — he was always sitting us down somewhere and playing different things. He inundated us with music.´
(Empress) 25 tracks. original recordings Just picture the scene. The British people are celebrating VE day with a will. Throughout the country people are gathering together for street parties, pubs and bars are packed with revellers while the length and breadth of London´s Whitehall is thronged with an enormous crowd eager to slake its collective thirst, then to acclaim one of the great heroes of the hour - the Prime Minister, Winston Churchill... for he is due to speak to the mass of people who have joy in their hearts and a song in their throats. It makes for a most stirring occasion. The conflict in Europe is over, although everyone is aware that the years ahead will not be easy. Just for this one particular day they can forget their worries and enjoy one of the great days in their country´s history. Music is playing everywhere. Songs of hope, songs of sentiment; some with words looking forward to a bright future, others with a reflective backwards glance to the bitter-sweet emotions of the six long years of strife. It was a marvellous period for music. Great songs were still being written for vocalists fully capable of doing them complete justice. On both sides of the Atlantic the pre-war boom in swing and dance bands had evaporated to some extent; it was the singers who ruled in the brave new world. Vera Lynn had begun her professional career as a band vocalist, but by the early ´forties had established herself as one of the most popular solo artists in Britain. The deep sincerity of her finely tuned singing together with the memorable numbers she performed struck a chord at home and with the troops overseas. Her connection with the forces during the war has passed into the nation´s folklore. Of all the singers active between 1939 and 1945 it is Dame Vera who will forever be associated with those dark days; her records form a soundtrack to the war years. It is a tribute to Vera Lynn that her popularity has never waned, enduring to the present day more than fifty years after she recorded her big wartime hits. There´s A New World, It Could Happen To You and Jerome Kern´s beautiful Long Ago And Far Away will stir many memories. Her closest rival for the affections of the people was the much-missed Anne Shelton. When she started with Ambrose´s Orchestra as a gym-slipped schoolgirl it was hard to believe that a voice of such deep port wine resonance could come from one so young. Her sense of how to phrase and shape a song would have been considered extraordinary in an experienced artist, let alone someone only just into her teens. She was so highly regarded that, on trips to war-torn England, both Glenn Miller and Bing Crosby expressly asked her to work with them. A tremendous honour for a comparative newcomer. Just how well merited it was is demonstrated in Tonight I Kissed You and one of the only numbers to become popular in both Britain and Germany, Lili Marlene. There were other popular female vocalists besides the ´big two´. Adelaide Hall must have been one of America´s best-ever exports to the UK. Initially a wonderful jazz singer who made some classic recordings with Duke Ellington, she became an integral part of the British music scene when she moved to this country. Versatility and a fine voice coupled with a highly distinctive style were the keys to her success. Equally at home with the popular songs of the time as with mainstream jazz, her versions of the massive worldwide Julie Styne/Sammy Cahn hit It´s Been A Long Long Time and Harold Rome´s My Heart Sings are perfect vehicles for her exemplary singing. In both she is accompanied by the equally adept Norman Perry at the piano. Just like Anne Shelton the pint-sized Beryl Davis was a very young girl with a very big voice. Her teenaged assurance in I Got It Bad is a reminder of an all-round vocalist who recorded with jazz violin maestro Stephane Grappelli and with David Rose in America as well as a number of dance bands...
(Sleazy Records) - (Sleazy Records) Mario Cobo has managed to carve out a musical career seemingly unattainable for a musician born in Barcelona. Chopping stone. Test after test. Concert after concert. With an impeccable attitude from his first live appearance, in 1994, until the last one, probably yesterday. Because Cobo has not stopped playing in all these years. Either with Nu-Niles, his usual band, with which he edited up to 6 LPs and several 7inchs. The band that took to him to turn by all Europe and the United States until its dissolution, this same year, with a splendid album of homonymous title. A background that shapes his reputation as a guitarist and composer within the international roots music scene. With songs edited in Germany, Japan, Spain, Sweden, Holland and the United States. That has made Cobo a renowned musician, an aspect in which they have much to do other projects such as The Lazy Jumpers, which between 2003 and 2008 recorded three albums with his name, and two more as a band of Little Rachel and Mitch Woods. He also was one of Kim Lenz´s Jaguars between 2010 and 2012 and played performances as a member of the groups of Sonny Burgess and Dj Fontana (drummer Elvis), Billy Lee Riley, Janis Martin, Joe Clay Glen Glenn or Dale Hawkins. But now all that is history, like the Nu-Niles. A beautiful story that resurfaced this year 2015 to edit together with Loquillo ´Code Rocker´ (DRO / Warner), produced by Mario with Josu Garcia, placed in the number 1 sales in Spain and make a thrilling tour while exclusive of 12 dates in a month throughout the state. Cobo goes ahead with the Mambo Jambo, a whirlwind of instrumental rhythm & blues formed with the saxophone master Dani Nel.lo (Rebels, Nel.lo and La Banda del Zoco), his partner in innumerable projects Ivan Kovacevic (Nu-Niles) and the magician of the drumsticks Anton Jarl. With them and three LP´s plus several singles have conquered the hearts of the public and also of the critics, who does not stop giving praise to the band. Another of his projects is the Western Swing band Los Locos del Oeste and his crazy country jazz where he deals between the guitar, voice and steel guitar with which he occupies the little free time he has left when he is not touring with Mambo Jambo or working in various productions.