Wednesday, December 27, 2017

Jose Y Manuel - 1970 - Genesis

Jose Y Manuel 
1970 
Genesis


01. Triste Niñez 2:25
02. Esta Tarde 2:42
03. Mi Pequeña Hermana 2:38
04. Elisa 2:55
05. Oh Madame 2:57
06. A Las Seis 3:50
07. Un Rincón Oculto 2:15
08. Anatolia 2:33
09. Una Joven Mama 2:38
10. No Podre Vivir De Recuerdos 2:30
11. Geraldine 5:02

Bass Guitar – Joaquín Torres Méndez
Drums – Luis Baizán Carretero
Lead Guitar – Rodrigo García Blanca
Rhythm Guitar, Vocals – José Antonio Martín
Vocals -  Manuel Martín

Orchestra: Waldo De Los Rios


The brothers from Málaga José Antonio and Manuel Martín formed a duo since their adolescence. Regular participants in festivals of folk music , in 1970 won the attention of the powerful Hispavox record company, with which they recorded a first single: "Y me Enamoré / Pronto Amanecerá" (Hispavox, 1970) , two songs composed by themselves. As the album was not defended badly at the time of sales, they undertake the task of preparing an LP, which will be released the following year. "Génesis" (Hispavox, 1971)  would be, in the end, the most important work of this pair of brothers, fans of vocal games, who, surrounded by a discreet orchestra, achieved one of the best works of theSpanish folk pop . In this long play will appear his most remembered song, "My little sister", with which they achieved a certain notoriety and appear in the sales classifications.

"Genesis" had an impact that the company considered more than acceptable, which continues to support the brothers Martín, who undertake the recording of their second album, "Pronto Amanecerá" (Hispavox, 1972) , very similar in intentions to the first and that enjoys the same production of Rafael Trabuccheli. However, neither criticism nor sales were on a par with those of the first album.

They published a couple of more singles until in 1973 they moved to Madrid to become part of Solera , a project to which they would contribute their voices and their compositions. This supergroup announced to drum and cymbal soon be dissolved, precisely because of the disagreements between these two brothers and the other two components: José María Guzmán and Rodrigo García , not without first leaving one of the fundamental LP of our history: "Solera" ( Hispavox, 1973) .

The Martin brothers, then, began a new project next to the group New Horizons , along with those who recorded the magnificent and now almost unknown LP "Telaraña" (Hispavox, 1974) . José and Manuel took back the original project in 1976 and will still put on the street one last single: "Tomate la Vida tal y Como es / Solo para ti" (Hispavox, 1976) . Soon after, they ceased their activity. Manuel will abandon music and José Antonio will start a long career as a guitar teacher.

Jimmy Smith - 1965 - Organ Grinder Swing

Jimmy Smith 
1965 
Organ Grinder Swing


01. The Organ Grinder's Swing 2:15
02. Oh, No, Babe 9:00
03. Blues For J 5:15
04. Greensleeves 8:53
05. I'll Close My Eyes 3:16
06. Satin Doll 7:00

Drums – Grady Tate
Guitar – Kenny Burrell
Organ – Jimmy Smith

Recorded June 14 and 15, 1965 at Van Gelder Recording Studio, Englewood Cliffs, New Jersey.


Right after defying the boundaries of idiom with his Hammond B-3 organ and big band collaborations with Lalo Schifrin (The Cat) and Oliver Nelson (Who’s Afraid Of Virginia Woolf?) in 1964, Jimmy Smith made his stark return to the organ trio format In 1965 with this strikingly fun-filled masterpiece that became another Top 20 album for him. Organ Grinder Swing is a highly acclaimed masterwork that found Smith in perfect companionship with the great jazz guitarist Kenny Burrell and session drummer Grady Tate as the three musicians gradually demonstrate a vibrant form of free spirited soul jazz and world class merriment, which produced both a true hit with the title track and the entire album as well. Beginning with the highly supercharged title track, the step by step track set proceeds at rapid pace on other organ classics, like the swooning Oh, No Babe and the classic Blues For J, as well as classic standards like Greensleeves, I’ll Close My Eyes and even Duke Ellington’s Satin Doll. Also a part of Verve’s Master Edition Series, what can be best described about Organ Grinder Swing are the liner notes that stated: “To many, the organ truly did belong in church, classical music, in movie palaces, or the roller rink--any place but jazz. In the end, it was listeners and fans who turned the tide--people for whom jazz was still a functioning social music”.
Jimmy Smith was the Hammond organ soloist determined to help break with the instrument’s past by incorporating a set of modern mediums and yet found his way to create a new popular form of acceptance of the instrument, his ideas, a rich legacy, the countless jazz organists he influenced and for jazz itself.

Greg Hatza With Eric Gale And Grady Tate - 1968 - Organized Jazz

Greg Hatza With Eric Gale And Grady Tate 
1968
Organized Jazz


001. John Brown's Body
002. That's All
003. Tate Worm
004. My Favorite Things
005. Softly, As In A Morning Sunrise
006. Blues For Charlie

Drums – Grady Tate
Guitar – Eric Gale
Organ – Greg Hatza


A native of Reading, Pennsylvania, Greg Hatza’s musical instincts came to him as early and as naturally as the ability to walk, and he was picking out blues and boogie woogie tunes on the piano around age four before starting formal lessons shortly thereafter.  The Hammond B-3 became his life’s obsession as a teenager, when a friend turned him on to records by Jimmy Smith, Jimmy McGriff, Ray Charles, and Johnny Hammond Smith.  His first professional gig on the instrument came when he was 16, with the Frankie Scott Trio, where he played around small towns in central Pennsylvania.

Because there were no jazz organ instructors at the time, Greg was largely self-taught, picking up most of his insider knowledge from the organ players at jam sessions at a local club called the Grand Hotel.  It was the Grand that Baltimore Colts football great and jazz fan Lenny Moore asked the teenager to perform at a club he was opening in Baltimore.  Moore became Greg’s manager and Baltimore became Greg’s home.  The organist played at the club for four years and was something of a young jazz lion himself, recording two albums for MCA subsidiary label Coral Records, The Wizardry of Greg Hatza and Organized Jazz.

In the late sixties, Baltimore was still an organ town and had its share of great players.  It was here that Greg really got a chance to hone his jazz organ skills by playing with the best musicians in town.  Lenny’s club was a great stopping point for national jazz artists who came to Baltimore to perform.  It was here that Greg met his mentor Jimmy Smith and got to play with him. Smith later advised Greg on his soon to be recorded albums.  He also met and got to play in jam sessions with such personalities as Kenny Burrell, Groove Holmes, Damita Joe, Philly Joe Jones, Roland Kirk, Les McCann, James Moody, and Sonny Stitt.

With the trend towards more advanced electronic keyboard and rhythms, Greg adapted to the trend, switching from the Hammond B-3 to the electric keyboard and piano. He played in different be-bop groups and as a member of his contemporary fusion band Moon August, selected as the number one jazz group from over fifty contestants at the First Annual Jazz Quest held at the 1983 Eubie Blake Festival. Moon August was named as the number one jazz band in the Maryland/Washington area by Maryland Musician Magazine from 1985 to 1987.  In 1999, Moon August was awarded the title “Cultural Ambassadors” for the city of Baltimore under then Mayor Kurt Schmoke. The group traveled to Kawasaki, Japan for the 20th anniversary celebration of the Kawasaki/Baltimore Sister City Exchange.

In the meantime, Greg expanded his stylistic scope to include distinct ethnic elements. In 1974, he began to study tabla and later sitar.  He continued his studies for ten years under Ustad Hamid Hossain.  He traveled around the U.S., India, and Bangladesh with Hamid, performing ragas on piano.  In 1986, he won 1st place on tabla in the annual “All Indian Music Competition” held at UMBC in Maryland.  In addition, Greg studied classical music on the erhu, a two-stringed Chinese fiddle, under Shanghai instructor, Liang Shan Tang.

Greg Hatza’s formal education includes a Bachelor’s degree in Composition from the Peabody Conservatory and a Master’s from Towson State University, where he subsequently taught jazz, piano composition, improvisation and music theory for many years. He also performed with the Towson Jazz Faculty Quartet in St. Petersburg, Russia.

In 1994, Greg met Joey DeFranscesco who told him the Hammond B-3 was enjoying a popular renaissance.  He formed the Greg Hatza ORGANization and has been performing and recording on the instrument non-stop since that time. For the last fifteen years, in partnership with the Rev. Dred Scott, they formed a group called Jazz in the Sanctuary. Based in Baltimore, they perform jazz-gospel concerts throughout the tri-state area. Greg currently serves as the Choir and Music Director at St. Gregory the Great Church in Baltimore. He also performs Indian/World Fusion music with the Grammy nominated group Melodic Intersect.