Mace2theO Webcast #20 - Alternative Neo Soul

Mace2theO Webcast #20 - Neo Soul

Maceo Musicology Webcast #20 (Alternative Neo Soul) by Mace2theo on Mixcloud

...an Alternative View

Neo Soul

Developed in the United States and United Kingdom during the 1980s and early 1990s as a soul "revival" movement, Neo Soul is distinguished by a less conventional sound than the producer-driven, digitally-approached R&B of the time, incorporating elements ranging from jazz, funk, and hip hop to pop, fusion, and African music. The term Neo Soul was originally coined by Kedar Massenburg of Motown Records in the late 1990s as a marketing category following the commercial breakthroughs of artists such as D'Angelo, Erykah Badu, Lauryn Hill, and Maxwell. (wiki)

 

The Neo Soul movement was coming on strong with D'Angelo, Lauren Hill, Jill Scott, Erykah et all, but I was drawn to the more alternative side of it.  They seemed to be expanding the definition of soul more so than the others.  In addition, many of these artists were the first generation that had grown up on Prince. I think it's reflected not in sounding like Prince, but trying not to boxed in by the labels of soul, r&b or rock n roll...or Neo Soul

So we were cleaning out the basement and I came across some mixed cassettes I had made in the early-to-mid 90's. A lot of them contained songs by (then) new artists releasing their 1st album, who I thought were making some interesting music.  

 

Track list

1. Change Your Life - Sunchilde

This is band I found through Dave at the cd store "Rebel Rebel" on Bleeker Street in NYC. I love this song, but can't find anything about them on the web. It's a corker with a great hook and a funky groove. Enjoy.

2. Two Lonely Hearts (On the Subway) - Me'Shell NdegéOcello
Bassist and singer Me'Shell Ndegéocello's music twists and turns through many genres — R&B, pop, jazz, hip-hop — and her lyrics spin conventional racial and sexual identities. Ndegéocello defies labels throughout, tagging her slinking and crawling songs with a rubbery flow that's just as rooted in '70s funky soul as it is in '90s hip-hop culture. This is a beautiful funky track from her debut 'Plantation Lullabies.'

3. Hurt So Bad - Kina   
Kina isn't afraid of being original. As a former member of the group Brownstone Kina stepped away from that sound and has really let her own true self be heard on songs like this cut. She's got the vocal power of Tina Turner and Chaka.  Check out here how she uses her voice to mimic the instruments on this cut from her self-titled debut.

4. Tennessee - Arrested Development

Arrested Development was an alternative hip hop group founded by Speech and Headliner as a positive, Afrocentric alternative to the gangsta rap popular in the early 1990s.  Their sound reflected a uniquely rural perspective, and melodic blend of funk and rap.  The band's first hit, "Tennessee" from their debut album spoke of reclaiming Southern black traditions from the racism that sullied their memory, with Dionne Farris's soaring vocals the highlight. btw, the song contains a sample of Prince's "Alphabet St.".

5. Passion - Dionne Farris
Here Farris steps out on her own with a track from her strong debut album called 'Wild Seed-Wild Flower' where she blends elements of hip-hop and alternative rock.  Her strong voice rocks out here on the r&b thrasher 'Passion'

6. Sympathy for the Crow - David Ryan Harris

David Ryan Harris' former band, Follow for Now, was poised to become the next Living Colour before the black rock revolution fizzled. After a short period out of the limelight, Harris began working as a producer and featured guitarist with Dionne Farris, a former vocalist from hip-hop group Arrested Development. Harris’ guitar work can be heard throughout Farris’ 1995 album 'Wild Seed, Wild Flower.' Reflecting his southern roots, he released his self-titled debut album in 1997. Harris's solo album is more sophisticated lyrically and musically than FFN, with cool melodies, some crunchy guitar work and bottom heavy bass with a sound best described as "Allman Brothers-meets-Stevie Wonder"

7. Listen - Urban Species

Urban Species is a British hip-hop band, drawing on a diverse range of influences (including reggae, blues, funk, dub, jazz, ragga and acoustic folk). Urban Species released their debut album 'Listen' in May 1994. The title track features the musicality of their approach, incorporating live acoustic guitars alongside the samples and programming, and going for a spacious, organic feel.  This track also features french hip hop artist MC Solar and an amazing battle between two acoustic guitars toward the end

8. Dont' Take That Attitude to Your Grave - Ben Harper   

Ben Harper's first album 'Welcome to the Cruel World' was everything that was good about Ben Harper - he was devoted to vintage acoustic guitars, writing original political songs and making music based on Mississippi Delta blues. This song from his debut hits the blues, but with lyrics worthy of Tupac in discussing LA life at the time.

9. Nervous Breakdown - Carleen Anderson

Carleen Anderson was most well known as the lead singer in the acid jazz group Young Disciples, but she is the daughter of the singer Vicki Anderson and stepdaughter of Bobby Byrd, who were both part of the James Brown musical family. After doing backing vocals for Paul Weller, she recorded her first solo album 'True Spirit' in 1994. This jam features socially conscious concerns over a seriously funky groove with a great horn line.
 

10. Education of Jamie (edit)    The Family Stand

The world according to The Family Stand is full of funk, love, rage and introspection. Formed by the powerhouse triple team of vocalist/keyboard wizard Peter Lord, vocalist multi-instrumentalist V. Jeffrey Smith and soul siren Sandra St. Victor, the band made the legendary "Moon In Scorpio" in 1991. Written by Lord and featuring the thermonuclear vocals of St. Victor and Ronnie Drayton evoking "Maggot Brain" on guitar, "The Education of Jamie" is a cautionary talk about a sista in 80's post race America pursuing the upper, middle, middle, upper, upper class" dream.

11. Boyfriend/Sexy MF (live) - Me'Shell Ndegéocello

And we close with Me'Shell on bass, live in 1994.  This is too funky.

Listen later here

Mace2theO Webcast #19 Jazz Funk

Maceo Webcast #19 Jazz Funk

Maceo Musicology Webcast #19 (Jazz Funk) by Mace2theo on Mixcloud

Jazz Funk

Jazz-funk is a sub-genre of jazz music characterized by a strong back beat (groove), electrified sounds, and often, the presence of the first electronic analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is indeed quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals. Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid 1970s. 

At its conception, the jazz-funk genre was occasionally looked down upon by jazz hard-liners as a sell-out, or "jazz for the dancehalls." It was unsubstantially presumed by these to be not intellectual or elite enough, which led to controversy about the music crossing over, but it was making jazz much more popular and mainstream.

The jazz-funk (as well as a proportion of the jazz) community absorbed the street sound of the funk rhythm, which gave the genre a dance-able rhythm and gained influences from the electric and some new analog electronic sound of fusion. The 1970s included many original stylistic creations, and the jazz-funk genre was very representative of this movement.(wiki)

CKJ 505 wrote at EMC:

As I am on the wrong side, the way wrong side of 30, I am leaning towards the jazz side of funk.It’s hard to put a finger on what funk is, but jazz funk makes me feel good, 

It’s smooth and free, simpler chords with solid chord progressions.  

....For CKJ 505

Track list

1. It Remains to be Seen – Bennie Maupin
"It Remains to be Seen" kicks off bass clarinetist Bennie Maupin's first LP for Mercury ('Slow Traffic To The Right') with a steady funk groove layered with reverb heavy orchestrated horns and electronic atmospheres. The beat is unobtrusive and seems to pre-date 90s acid jazz and trip-hop. Bennie and pianist Patrice Rushen turn in high energy solos that lift the song. A great bit of spiritual funky jazz that is an excellent groove. 

2. Hideaway (live) – David Sanborn
Alto saxophonist David Sanborn has earned fame beyond that of the average studio musician, and rightfully so. Sanborn has been among the session elite working with Stevie Wonder, Paul Simon, and David Bowie (I loved Sanborn's sax on the album 'Young Americans). This version of "Hideaway" is from the live-in-studio album 'Straight to the Heart'- often regarded by many as one of Sanborn's best as it features a stripped-down, funky showcase for his distinctive saxophone sound. Not only is the leader on top form, but he finds himself in good company. Marcus Miller contributes some great bass lines and solos, whilst there are fine touches by guitarist Hiram Bullock. 

3. Hurricane Season – Trombone Shorty
“Supafunkrock” is the name that Trombone Shorty gives his engaging blend of brass band blasts, metal guitar and deep grooves. From his debut album on Verve 'Backatown' this is the opening stomper “Hurricane Season”

4. Chameleon/We Want the Funk – Los Hombres Caliente
Los Hombres Calientes consists of the core group of Bill Summers (percussion), Irwin Mayfield (trumpet) and Jason Marsalis (drums) and they are supplemented by piano, bass and percussion.  The band is a meeting of young and old as Summers is a veteran of the jazz scene (his most notable sessions was part of Herbie Hancock’s Headhunters) and both Mayfield and Marsalis are in their early twenties. Here they funk it up with Herbie Hancock’s "Chameleon" and George Clinton’s "We Want the Funk."

5. McEwan’s Export – Average White Band
A live version of this track was played by the Average White Band (AWB) on the Atlantic Family Live at Montreux album with Morrissey Mullen, but the studio version didn't make the cut of AWB's second album (the 1974 self titled white Album most mistake as their first). This is the from the pre-Arif Mardin-production version of that album. 

6. (late night at the ) Maple Leaf – Stanton Moore
Stanton Moore is also the drummer in the funk band Galactic and the avant-funk group Garage a Trois.  Here with keyboardist Robert Walter and guitarist Will Bernard, they rock the house. His deceptively complex drumming on “(late night at the) Maple Leaf” creates the illusion that he is playing half a measure behind or ahead of the beat while the group turns in some penetrating hard funk. 

7   Eric – Marcus Miller
Multi-instrumentalist Miller is a well-known staple within the jazz and blues communities. Best known as the bassist for Miles Davis and David Sanborn, he is a clarinet player, keyboardist, saxophone player, guitarist, and vocalist. Many of these facets are heard his 1995 album 'Tales.'  This track features a great call and response with Hiram Bullock on guitar and Marcus on bass.

8. Stroke ’75 – Tower of Power
Tower of Power blew literally out of the Bay Area's early '70s scene at a time when hip black and white tastes were further diverging. The horn-heavy ensemble managed to find an audience of album buyers on both the soul and rock sides of the divide, though. This great and all too brief B-side “Stroke ’75″ shows off the "funkifized" soul of their world-famous horn section

9. Time – Lenny White
This album finds the Ex-Return To Forever drummer being produced by Earth, Wind & Fire keyboardist Larry Dunn, which brings a r'n'b sound to the mix of jazz-rock fusion.  This little funky pop vocal gem is called "Time."

10 Chocolate Chip – Miles Davis
'Doo-Bop' was Miles Davis' final studio album, which would have marked the beginning of the artist's turn to hip-hop-oriented tracks. The project stemmed from Davis sitting in his New York apartment in the summer with the windows open, listening to the sound of the streets. He wanted to record an album of music that captured these sounds. In early 1991, Davis called up his friend, hip hop mogul Russell Simmons and asked him to find some young producers who could help create this kind of music, leading to Davis' collaboration with Easy Mo Bee. This is one of the too-funky results. 

11. Lopsy Lu-Silly Putty – SMV
The album 'Thunder' is a collaboration between three of jazz fusion's reigning heavyweight bassists -Stanley Clarke, Marcus Miller, and Victor Wooten. The track here from that album is "Lopsy Lu-Silly Putty" - a medley of sorts. Some "Lopsy Lu" from Stanley Clarke's self-titled album (1974), some "Silly Putty" from Stanley's album Journey To Love (1975) added with a bass-line from "School Boy Crush" from The Average White Band's album "Person To Person" (1976). The tune is peppered by George Duke's mini moog. The funky sound of the '70's transferred to contemporary bass. Yum






Listen later here
 

Posted at 2tha9s.com on March 12, 2011 by SeeNote 

Maceo’s funky creation comes to you today from the webcasting  forum of the Entropy Music Club or “EMC” and boy, this funkateer seamlessly struts through the podcast like a cool breeze on a Sunday afternoon.

Mace2theO Webcast #18 - Return to New Orleans

Mace2theO Webcast #18 - New Orleans #2

Back to New Orleans....in time for Mardi Gras

Come celebrate the indigenous music and culture of New Orleans and Louisiana, with music that encompasses blues, R&B, funk, gospel music, Cajun music, zydeco, Afro-Caribbean, folk music, funk, country music, bluegrass and everything in between. And of course there is lots of jazz...and did I mention funk?

Mardi Gras

Mardi Gras (Fat Tuesday in English) in New Orleans, Louisiana, is a Carnival celebration well-known throughout the world.

The New Orleans Carnival season, with roots in preparing for the start of the Christian season of Lent, starts after Twelfth Night, on Epiphany (January 6). It is a season of parades, balls (some of them masquerade balls), and king cake parties. It has traditionally been part of the winter social season; at one time "coming out" parties for young women at débutante balls were timed for this season.

 

Celebrations are concentrated for about two weeks before and through Fat Tuesday (Mardi Gras in French), the day before Ash Wednesday. Usually there is one major parade each day (weather permitting); many days have several large parades. The largest and most elaborate parades take place the last five days of the season. In the final week of Carnival, many events large and small occur throughout New Orleans and surrounding communities.

The parades in New Orleans are organized by Carnival krewes. Krewe float riders toss throws to the crowds; the most common throws are strings of plastic colorful beads, doubloons (aluminum or wooden dollar-sized coins usually impressed with a krewe logo), decorated plastic throw cups, and small inexpensive toys. Major krewes follow the same parade schedule and route each year.

While many tourists center their Mardi Gras season activities on Bourbon Street and the French Quarter, none of the major Mardi Gras parades has entered the Quarter since 1972 because of its narrow streets and overhead obstructions. Instead, major parades originate in the Uptown and Mid-City districts and follow a route along St. Charles Avenue and Canal Street, on the upriver side of the French Quarter.

To New Orleanians, "Mardi Gras" specifically refers to the Tuesday before lent, the highlight of the season. The term can also be used less specifically the whole Carnival season, sometimes as "the Mardi Gras season". The term "Fat Tuesday" or "Mardi Gras Day" always refers only to that specific day. (wiki)

Track list

1. Burgundy Street Blues - Dr. Michael White

Crescent City clarinetist Dr. Michael White celebrates the 100th anniversary of the birth of the legendary New Orleans clarinetist George Lewis by performing Lewis' signature piece, the elegant "Burgundy Street Blues," which drips with Spanish moss and humid nights with its melancholy melody.

2. Accentuate The Positive - Paul Sanchez & John Boutte
Singers John Boutte and Paul Sanchez got together and knocked out a record in a single session. What you hear is well-played, well-sung yet laid back session of singer-songwritery, blues jazz. Boutte shows how inventive an interpreter he is on a cover of the Johnny Mercer/Harold Arlen classic “Accentuate the Positive,”

3. Exit To Mystery Street - Paul Sanchez

Singer-songwriter Sanchez' offers up more than most on this solo record made with friends, including the wonderful Matt Perrine tuba track lines on this title track from the album of the same name.

4. On Your Way Down - Trombone Shorty    
Allen Toussaint appears on one cut from Trombone Shorty's debut album 'Backatown.' While he doesn’t lend vocal support, he does play piano on a cover of his classic “On Your Way Down,” a tune that was most recently covered by Toussaint and Elvis Costello. This Trombone Shorty version dances circles around all the other; it’s a loose, funky groove, Toussaint’s piano lines and what sounds like a flute flirting with a dynamite, in-the-pocket rhythm that makes past incarnations of the song sound leaden by comparison. It’s a fairly radical reinvention of a beloved tune, but Toussaint’s presence here seems to signify his approval.

5. Josephine (live) - David Torkanowsky & George Porter Jr. & Herman Ernst

From a radio tribute to the late legend Snooks Eaglin, this is a live version of Snook's "Josephine" with Meters bassist George Porter Jr with Herman Ernst on drums and David Torkanowsky on piano.  Too funky

6. Mr. Big Stuff - Kermit Ruffins w/Rebirth Brass Band

Trumpeter Kermit Ruffins came blasting out of high school with the Rebirth Brass Band, The ensemble stormed for 10 years before disbanding in 1992. Here reconvened, they've lost none of their flair and verve. The Rebirth Brass Band are in fine form, particularly the mighty tuba playing of Philip Frazier, with this cover of Jean Knight's hit - celebratory, soulful and perfect party music yet tied to the brass band tradition.

7. Backwater Blues - Irma Thomas

Thomas is a contemporary of Aretha Franklin and Etta James, but never experienced their level of commercial success. Here, she covers the Bessie Smith tune and it's relevant theme for "Our New Orleans: A Benefit Album for the Gulf Coast" which presents songs recorded in September and October 2005, shortly after Katrina

8. I'll Be Seeing You - James Booker

A mentor of Harry Connick Jr, Booker was highly skilled in classical music and played Bach and Chopin, among other composers. He also mastered and memorized solos by Erroll Garner, and Liberace. His thorough background in piano literature may have enabled his original and virtuosic interpretations of jazz and other American popular music. These performances combined elements of stride, blues, gospel and Latin piano styles. Here, alone on the piano.

9. Unnecessarily Mercenary -Jon Cleary

Kent UK born and New Orleans based, Cleary is a triple threat—with a salty-sweet voice, masterful piano skills, and a knack for infectious grooves.  Later covered by Bonnie Raitt, here Cleary tickles the ivories with a solid boogie foundation with his own take on gold diggers. I love me some Jon Cleary

10. Someone to Love - Eden Brent

Singer and pianist Eden Brent from Greenville, Mississippi recorded this record in New Orleans. She brings her own boogie-woogie style now infused with the City's jazz and soul and, all dipped in Mississippi Delta Blues. Eden's voice gives her gritty music a much raspier and earthy sound.

11. Door Poppin' - John Boutte

Born into a large and musical Creole family, Mr. Boutté has roots in gospel and traditional jazz. While he can tap out syncopated beats on a tambourine, it is the sweetness and grit of his tenor voice that may remind of Sam Cooke but fits no convention. This is a funky track written with Paul Sanchez. "Please get out of the door, fool"

12. Sneakin' Sally Through The Alley - Lee Dorsey

I hate to admit it, but I heard first this song as covered by the late Robert Palmer in 1974, backed by members of the Meters. Later I found out that Toussaint wrote it and Lee Dorsey performed it first.  Dorsey was a versatile performer, capable of rocking R&B, soul, and sang many of Toussaint's songs. The Meters play backing here on the original, with some popping guitar and a stop-time beat that keeps things chugging along in a funky way.

13. Yes We Can, Can - The Pointer Sisters
This Allen Toussaint-penned gem comes from the Pointer's debut album from 1973.  A socially conscious theme that features intricate background vocals by three of the sisters while Anita Pointer handled lead.  That bassline is so funky you will get that 'I-smell-somethin' face as you start moving your head side to side.

14. Tootie Ma Is a Big Fine Thing - Preservation Hall Jazz Band & Tom Waits    
The Preservation Hall Jazz Band derives its name from Preservation Hall, the venerable music venue located in the heart of New Orleans’ French Quarter, founded in 1861. Waits traveled to New Orleans to record songs with the Preservation Hall Jazz Band for 'PRESERVATION: An Album To Benefit Preservation Hall.' Originally recorded by Danny Barker in 1947, “Tootie Ma Was A Big Fine Thing” is one of the earliest known recorded examples of Mardi Gras Indian chants.

Many thanks to Sal over at Burning Wood for turning me on to much of the above.

Listen later here

  

  

Mace2theO Webcast #2 - Live 70s Funk

Maceo Webcast #2 - Live 70s Funk

Maceo Musicology Webcast #2 (Live 70s Funk) by Mace2theo on Mixcloud

So, I'm an old Funkateer born the same year as Prince, am rooted in the 70s as the foundation for my appreciation of music. I must admit that I often find myself born a generation before most of the Purple folks on the web forums, so every now and then I realize how my reference points are not the same as others. So as my 2nd podcast, I decided to do a "Live 70's Funk" podcast.

I choose that theme for several reasons. 1) the old Prince rant which represents our generation - real musicians playing real instruments 2) live recorded albums by r&b/funk groups was a dead art by the 80s 3) I had started to accumulate some rare recordings I wanted to share and 4) as an early podcast, it was an attempt to share myself.

When I say share myself, I don’t mean as some Funk expert – I mean as this is what we did as teenagers in the 70s: we went to funk concerts!

With all good intentions, I decided to “re-create” the feeling of a good old fashion funk concerts. Now by funk concert, I talking bands or groups (not solo artists) with 10 guys on stage, horn sections, conga players, 2 lead singers, etc – as this was what we were into. I searched to find tracks and put together what I thought was a funky little show.

So I decided to re-visit it (or get another reminder of my age), based on CK and SeeNote bringing more of a r&b and hip hop vibe to the Entropy forum. As was my 2nd podcast and it was done with a crappy mic and before I started learning my way around Audacity, I tried to clean it up so it at least sounded on par with more recent podcasts (as had tossed the original Audacity files, had to work off my final mp3 copy). As a matter of principal (or stubbornness), I refused to re-record it with new vocals as it is now a record of that moment in time...a bit silly, but there ya go. But I did add 2 new songs (well, it’s what record companies do with re-issues! )

There is a bit of chronological grouping (versus order) in terms of when recorded, as was trying to focus on shows from when the bands were in their prime, back in the day, and not off some reunion tour. I was 80% successful.

The track list is:

1. Gimme Some More – The JB’s (’71)

Back then, many groups started the show with an instrumental. Thought the JB’s were up to the challenge. “You ready?” ‘Nuff said.

2. Sing A Simple Song – Sly & The Family Stone (’69)

Sly, Larry and the Gang bring the only funk allowed at Woodstock.

3. Ronnie’s Groove – Kool & the Gang (’71)

Before the raw funk of Jungle Boogie and the crossover 80’s pop funk of “Celebration,” Kool and the Gang were a jazz funk group. This is from Live at PJ’s.

4. Shining Star – Earth Wind & Fire (‘74)

EWF were also a jazz funk band long before they evolved. This is a live version of one of their first breakthrough songs, before they discovered they could crossover big time with pop disco such as ‘September’ and ‘Boogie Wonderland’. Features Maurice White and Philip Bailey on vocals

5. Don’t Change Horses (in the middle of the stream) – Tower of Power (’74)

This is from a recently uncovered live show in 1974, with Lenny Williams as the singer (my personal favourite of all their vocalists). Tower of Power horns. ‘Nuff said.

6. I’m the One – Average White Band (’77)

This version of the anything but average Scottish funksters’ 1976 jam is not from their well know live album ‘Person to Person’ but a longer version from a 1977 Montreux show. Alan Gorrie and Hamish Stuart played both  guitar and bass, switching back and forth from track to track. Hamish is on bass here, Alan on lead rhythm and Onnie McIntyre plays some serious sublime rhythm grease.

7. Fancy Dancer – Commodores (’77)

From their live album released after the success of ‘Brick House,’ this track comes from the album before. Like Kool and the Gang and EWF, once he discovered they could cross over with ballads like “Easy” and “Three Times A Lady” and Lionel Ritchie said goodbye to the funk and hello to lots of money. This is Lionel when he was funky. Trivia note: Lionel did not sing ‘Brick House’ – the drummer Walter “Clyde” Orange sang it.

8. Get The Funk Out Ma Face – The Brothers Johnson (’78)

With brothers George ‘Lightnin’ Licks’ on guitar and Louis ‘Thunder Thumbs’ on bass, the Brothers Johnson were discovered by Quincy Jones, and became part of his group of sessions musicians that he used. Four years before he worked with MJ on ‘Off the Wall’, Q produced their debut album in ’75 which featured ‘Get the Funk’. At the time amongst 70’s Funkateers, Louis, Larry Graham and Bootsy were the kings of bass, each with their own fans. Louis is the least known today of the three, so here he is live on a rare recording from 1978. Includes a Thunder Thumbs bass solo.  This is my edit of the long version from the show

9. FFun – Con Funk Shun (unknown)

Featuring singer/guitarist Michael Cooper, this was their biggest hit originally recorded in 1977.

10. Shake Your Pants – Cameo (unknown)

Before Larry Blackmon stripped Cameo down for the 80’s electronic funk of ‘Word Up’, Cameo was a 8 piece funk group that was all about the dance floor. This jam is back when Larry’s “Ooow” was natural, as it became his gimmick by ‘Word Up’

11. Fire – Ohio Players (unknown)

And to take us home, from their 1974 album. I should be writing something, as is the final song in our little concert podcast, but I am too busy looking at my Ohio Players cd covers. “Go OP go OP go”.

Anyway, hope you enjoy. Share with your elders, if necessary.


Listen later Here
 

 

Purpleblues Webcasts 12 & 13

Professor Maceo set us a task - to construct a podcast a month...

Well I had so much fun compiling the Twin Peaks issue with him that I dug out my rough mixes and re tracked them in a flurry of hyperactivity between work and chef duties.  So here are Podcasts 12 & 13 , rough mixes and bad comments left in.

I reserve the right to tinker with them, re track and otherwise adapt in the future. But for now, we present:

"Nothing to do with Christmas" and "no , nothing here either", 
A PB guide to the blues as heard in snowy Reading

Purpleblues Webcasts 12 & !3

A PB guide to the blues as heard in snowy Reading

Tracklist 12

1. Dion - Statesboro Blues
2. Kris Whiley - Ain't Nobodies Business
3. Nels Andrews - Sunday Shoes
4. Chris Bergen Band - When I paint My Masterpiece
5. Honeyroot - Love Will Tear Us Apart
6. Jack Savoretti - Lost America
7. Jump The Gunn - Turlte Blues
8. Martin Luther - Rebel Soul Music
9. Underfal lYard - Last Train
10. Scott Holt Band - I know A Little
11. Scott McKeon - Givin' Me The Blues
12. XTC- Dear God
13. Tranatlantic - We All Need Some Light
14. Sterling Harrrison - Ain't Nobody Home
15. Beth Hart - Jealousy
16. Porcupine Tree -Radioactive Toy (live @Rockpalast)
17. John Legend & The Roots - Wake up (live in the studio)
18. John Mayer - Gravity

Listen later Here
 
                 

Tracklist 13

1. Frankie Miller - Take Me To The River ( Live-3 July 1986)
2. Imelda May - Tainted Love (Live @ Electric Picnic , 4 Sept 2010.)
3. Dana Fuchs - Bible Baby (live, 5 Sept 2010)
4. New York Rock n Soul Revue ( Donald Fagen and Boz Scaggs) - Drowning In The Sea Of Love (live)
5. Jump The Gunn - All I Say To You
6. Jimmy Thackery - Bluesman on a Satuday Night
7. Macus Bonfanti - Get Behind Me
8. Nimo Brothers - The Thrill has Gone ( live)
9. Walter Trout - Love In Vain
10. Jimi Hendrix - Red House (live)

Listen later Here

 

Ymaginatif's review

And I started with No 13. Because today is the 13th!

Took a few scribbly notes while listening, so here they come:


Our laidback DJ announces this podcast as 'blues-night' ... As opposed to blues-morning, blues-noon,blues-twilight and blues-elevenses? I thought all PB podcasts were blues?

What have we got here? A speedo version of 'Tainted Love' – it is strangely upbeat. Not surewhether I like it. The silly ad-libs don't make it any better ...

Ah but next, we have some powerful female vocals! I like that! 'music is evil' she says. Ah no, she says it isn't Sound rather country-likefor Blues to my ears --- and then she leaves it to the guitar to shine. That's defenitely country!And now there's a bit of Johnny Cash ... more country
Haha – it turns out to be Dana Fuchs! Yes, now I know why I thought she was good


Donald Fagen – that should be ultra-cool jazz blues. Hey I know this?! How is this possible? A PB selection that I've heard before?!'Drowning In The Sea Of Love'? Dear me! I know this in a 1970s half-hearted andhalf-drunk disco version of Ringo Starr! Bet you haven't heard that yet!!

Scottish blues now – we're slowing down. Beautiful female vocalsagainst a careful backing with lovely guitar sound. I like this.


Bam – it's back to runofthemill proto-blues. Sounds like Eric Clapton onguitar. But it isn't, I suppose. Too typical for me to really enjoy.

and now – more rock in the guitar! urgent rim-shots. that'smore like it!

We shift to funky blues on the guitar. 'Thrill Is Gone'. Greatguitar solo, those long bent notes caught my ear (while listing the 2 ^ndperson future forms of the verb 'manger') – a bit later: a wah-wah guitar solo.Nice one again!

oops – lost my concentration for a bit here ... last song.Jimi Hendrix. Typical guitar work, but melodious enough for me to enjoy. Yes,I'm actually enjoying it more and more. His lower strings begin to hum mid-soloat one point – made me smile. Yes, some nice dirty playing now with the wah-wah.

Seems like I 'heard' 8 songs. I'm sure there were more, but my mind must have drifted away here and there. I tend to 'relax and flow downstream' at work a lot

 Visit Purpleblues at Wilbur Dryfrog Speaks

Mace2theO Webcast #16.5 - Twin Peaks Alternate Takes

Alternate Takes to the Twin Peaks webcast

.."Grooves and grooves up on the shelf"

In making a podcast, sometimes the problem is finding the right music for what you want to say.

Other times, you have too many good tracks.

Enjoyed Purpleblues podcast so much, as realised we could have had even further 'twinning' but for some last minute changes. So I did an spontaneous 'alternate take' mini -podcast in response - a twin of PB's twin.

A Deep Purple cover, a Stevie Salas cut, a different cut from Cee Lo, Eric Gales, Sharon and my own favs of Lulu and Stress...all artists featured on the original twin podcasts with tracks that are too good to just leave out

Whereas the original Twin Peaks podcasts has music reflecting the "textured tapestry of talent," this is a Guitar Funk Jam

1.  Burn - Cory Glover et al
Cory Glover,Simon Gregory,Lars Y.Loudamp,T.M. Stevens, and Van Romaine on the Black Rock Coalition's "Black Night-Deep Purple Tribute According To New York"

2.  Accroche-toi Bébé! (Yeah! Yeah! Yeah! Yeah!) - Lulu Hughes
From Montreal, Lulu Hughes rips it up on a track from her 2nd album 'Crazy Mama'

3.  Be There - Inqbator
Amachi, J. Ogugua, and Wayne Binitie released a great debut album as Stress UK.but it didn't earn them a follow up with the record company. This album is essentially a follow-up, here with Karl Wallingerof World Party.

4.  What's Goin' Down    Hardware
Funk rock 'supergroup' Hardware consisted of lead guitarist Stevie Salas, P-Funk bassist Bootsy Collins, and drummer Buddy Miles (formerly of the Band of Gypsys), produced by Bill Laswell

5. Closet Freak_Sexuality Live)    Cee-Lo Green
Before Cee-Lo put on a suit and sang "Forget You," he was a toga-wearing Closet Freak. This is live in his hometown of Atlanta, mixing in a Prince cover.

6. Montego Bay - Lulu Hughes
Crazy Mama hits the dance floor

7. Do What You Want - Sharon Jones & Daryl Hall
Live From Daryl's House, a cover of the Hall & Oates classic

8. Custard Pie (Revisited) - Matt Tutor, Eirc Gales & Derek Trucks    
Webcast #16 (Twin Peaks) started with Eric's acoustic version, so we'll end with his electric version from 'Whole Lotta Blues - Songs of Led Zeppelin'    

Listen now here

Listen later here

Maceo & Purpleblues Webcasts - Twin Peaks

Mace2theO & Purpleblues Webcasts - Twin Peaks

One of the many things we both love about Entropy MC is how we all came to this place in appreciation of a specific purple artist, but yet we all seem to have very different taste in music from there. So it's great to be introduced to music new to us from the folks around here. It happens in posts, in the chatbox and through each others' podcasts.

So last month we were both happily and separately finalizing each of our podcasts for October, when in the chatbox one evening, we both realised that we were going to use Cee Lo's Forget You. We both laughed, as in the past, without any advanced coordination, the podcasts here by different people have never(?) used the same song (due to the lovely different and varied tastes we all have). From there, We realised that there were a few other artists that we were also considering, but with different songs.

So we agreed to make it formal and each create "Twin Peak" - twinned podcasts featuring  - 1 song, 6 artists and 1 cover

Our "Twins" are

• Cee Lo - Forget You
• Ben Harper
• Janelle Monae
• Steve Miller
• Sharon Jones
• Gil Scott Heron
• a Led Zep cover!

- the rest were up to the individual.

Our theory is that despite the overlap and love for the mutual artists, Purpleblues and Maceo podcasts will still sound different, because...well, Purpleblues is Purpleblues and Maceo is Maceo.

So we finally finished the webcasts, shared them with each other and it turns out 1) we ended having a 7th artist in common (Eric Gales)  2) we both started our shows with him and 3) both shows are both 1 hour and 5 minutes

Enjoy 

Purpleblues Webcast # 11 - Twin Peaks

Listen now here

Listen later here  [pw: 2damax]
 

Mace2theO Webcast #16 - Twin Peaks

Listen now here

Listen later here



1. Custard Pie - Eric Gales
The Led Zep funk number covered as a blues tune

2. Day to Day [Live on Jools Holland] - The Ting Tings  

This is an acoustic version of a cut from the English duo's 2nd album

3. In Vain or True - Fistful of Mercy

From the debut album of the "supergroup" of Ben Harper, Dhani Harrison (George's son) and Joseph Arthur

4. It's Uncanny - Sharon Jones & Daryl Hall

The Dap Kings singer here live with Daryl Hall (of Hall & Oates) on 'Live From Daryl's House'

5. Forget You (acoustic) - Cee Lo Green
Great version performed live in studio on a radio show

6. Tightrope (Live on David Letterman) - Janelle Monáe
Janelle absolutely kills it!

7. Hey Yeah - The Steve Miller Band
Figure Purpleblues would go for a track from the classic era, so this is from a more recent album  

8. Rosechild - Stress

English band from the early 90's - cool song  

9. Slyde - Cameo

Funks up a cover of the 70's classic 'Slide' by slave  

10. Dirtywhirl - TV On The Radio  

The Brooklyn group just keeps going from strength to strength

11. Tightrope (Acoustic) - Janelle Monáe

So nice, had to do it twice. Just Janelle and her guitar player in store at Cactus Music.

12. Providence - Ani DiFranco

Beautiful song with the best background vocals Prince has ever done for another artist

13. Faut Qu'ce Soit Heavy - Lulu Hughes

My girl from Quebec rocks it

14. It's A Sin (11th Avenue Mix) - Maggie's Dream
A Dust Brothers remix of a track from MD's debut album. Robbie 'Drac' Rosa on vocals

15. Your Daddy Loves You - Gil Scott-Heron
Just a beautiful song, if atypical for Gil Scott    

 
...well, Cee Lo, Janelle and Steve Miller were already in the pic...

 

 

Maceo Musicology Webcast #14 - Country BBQ Groove

 

Maceo Musicology Webcast #14 - Country BBQ Groove

Maceo Musicology Webcast #14 (Country BBQ Funk) by Mace2theo on Mixcloud

  

"Welcome to Maceo's Country BBQ
Maxim and Jaytap are manning the grill
Purpleblues and Jfrost are handling the beers
The music will be country,
but everything I do will be funky"

More of a personal webcast as I grew up hating country music because my mother played it all the time. So I had to come to terms with my roots yet find my own groove 

 1. Everything I Do - Lee Dorsey
The theme for me and words of wisdom: "Everything I Do Gohn Be Funky (From Now On)" - written & produced by the great Allen Toussaint and performed by Lee Dorsey. New Orleans-born Dorsey also had a hit with "Working in the Coal Mine" which was later covered by Devo.  His song ("Ya Ya") was covered on John Lennon's Rock and Roll album, and The Beatles 'Let it be (naked)' contains an extended live jam, with Tommy Sheridan on vocals, of the song from their early years. Dorsey appeared on an album with Southside Johnny and the Asbury Jukes, which led to more recordings on his own with ABC Records in the late 1970s. In 1980, Dorsey opened for English punk band The Clash on their U.S. tour.

2. Everything We Do - Funky Nashville
With a nice blend of funky rock and alt country, the music of Funky Nashville has nothing to do with their name - well maybe the funky part. But this trio's only connection to Nashville is the name. There is no relation to the city or music of Nashville. In fact Funky Nashville aren't even from the United States. The boys of Funky Nashville are from Denmark. Here is their take on the Lee Dorsey classic.

3. She's Country (Live)    Jason Aldean
Born in Macon, Georgia, country singer Jason Aldean had a #1 Billboard Country hit with "She's Country." It was all over the radio in 2009, as it was his first cross over in the Billboard Top 40. This is a live acoustic version.

4. Get Off On the Pain - Gary Allan
Gary Allan was offered his first recording contract aged 15 in 1982, but his father made him turn it down so that he could concentrate on his schooling.  Much later, having left school, he left a demo tape in the car of a couple to whom he had sold a car. They were so impressed that they gave him money to chase his dream. With it, he moved to the country music capital Nashville, signed a record deal - and paid them back (sounds like a movie). Because his sound is different from many of the current crop of country singers, Allan has at times had difficulty getting radio to play his singles. He says he has to "walk a real fine line" to "make sure that I get traditional stuff on the radio. This jam is the title cut from his 2010 release.

5. California Mansion Girl - Funky Nashville    
Another country jam with a Sergio Leone-worthy guitar slide lick and a very funky groove...from Denmark

6. Giddy On Up - Laura Bell Bundy
originally a broadway actress, Bundy went into country music (instead of going on 'Glee') and released her first album in 2010.  This song caught my ear because of the intro bass line.

7. Johnny Got a Boom Boom - Imelda May
Imelda May is an Irish vocalist and musician from Dublin with a signature growling rockabilly and blues sound. What sets Imelda apart from other rockabilly acts is her incorporation of traditional Irish and jazz instrumentation into her rocked out arrangements.  Check out Imelda’s growl and those revved up guitars on “Johnny Got a Boom Boom" from her 2008 release 'Love Tattoo.'

8. Jerry's Breakdown - Chet Atkins & Jerry Reed
Jerry Reed is known to most of the world as an actor and a country singer. He had the part of Burt Reynold’s buddy “Snowman” in “Smoky and the Bandit” and sang the movie’s theme song. But he was also a great musician - for many years, a Nashville studio session musician - and songwriter - Elvis Presley recorded two of his songs (with Jerry on guitar. Reed considered himself more of a songwriter, despite his amazing fingerstyle chops. Chet Atkins had to coax him into including instrumentals on his records. He recorded an album with Chet Atkins called “Me and Chet” in 1972, and this was the lead track - just an ol' fashion guitar duel.

9. Hey Bartender (Banjo Funk) - Aaron Burton    
A proponent of country blues, Burton plays guitar, slide, mandolin and banjo with authority and versatility.  Slide guitar is always a big component of Aaron’s music; he is perhaps the finest acoustic slide player in the area. Often playing solo on stage, he is accompanied her with bass, drums with some harp, accordion and piano to “Hey Bartender.” Like it says on the tin - banjo funk!

10. Hillbilly Deluxe - Brooks & Dunn
Brooks & Dunn was an American country music duo consisting of Kix Brooks and Ronnie Dunn, who were both vocalists and songwriters. They were paired by record producer Tim DuBois in 1990. Before the duo's foundation, both members of the duo were solo recording artists. This probably explains why they hated each other and didn't speak except to work for several years before breaking up in 2009 - after banking lots of cash and awards. Funky tune, though

11. Funky Country Living - Charlie McCoy
Charlie McCoy is from West Virginia and noted for his harmonica playing. In his career, McCoy has backed several notable musicians including Bob Dylan, Johnny Cash, Tom Astor, Elvis Presley and Ween. He played bass guitar on all the tracks on Bob Dylan's 'John Wesley Harding' and for 19 years McCoy worked as music director for the popular television show Hee Haw.

12. Save a Horse (Ride a Cowboy) - Big & Rich
Big & Rich is a country music duo composed of Big Kenny and John Rich. Both members alternate as lead vocalists and play rhythm guitar. From their 2004 debut album 'Horse of a Different Color,' this jam is a fusion of country rock and country rap. Not sure if the t-shirts or the song came first. The first two verses detail their arrival into Nashville, going into a bar, "passing out hundred-dollar bills" and "buying [everyone] a double round of Crown." They vow that Nashville is "never gonna be the same." They ride around Nashville on horses, while everyone else says to "save a horse" and "ride a cowboy."  As one would do.

13. Chicks Dig It - Chris Cagle
Chris Cagle is one of country music's more interesting characters, combinging macho, masculine beats and rhythms wth superb delivery. He went gold with his first two albums and produce seven hits, including four Top Tens. From his second album, "Chicks Dig It" is a humorous up-tempo corker with country rock influences, telling of the narrator, who has always done various stunts — often injuring himself in the process — in attempts to impress females, because the "chicks dig it". As one always does.

14. Hicktown (Live) - Jason Aldean
Another live acoustic track from Aldean, this reminds me of a country version of "Uptown"...only "Hicktown"

15. When You're Hot, You're Hot - Jerry Reed
After releasing the 1970 crossover hit "Amos Moses", a hybrid of rock, country, funk, and Cajun styles, which reached No. 8 on the U.S. pop charts, Reed in 1971 issued his biggest hit, the chart-topper "When You're Hot, You're Hot", which was also the title track of his first solo album, reaching #9 on the Billboard charts. I was a young lad when I first heard this, and remembering thinking 'this is funky'

16. The Ballad of Jed Clampett - Lester Flatt
Earl Scruggs is noted for perfecting and popularizing a 3-finger banjo-picking style (now called Scruggs style) that is a defining characteristic of bluegrass music. Lester Flatt was a bluegrass guitarist and singer. Together, Flatt and Scruggs were one of country musics' greatest duos. They performed "The Ballad of Jed Clampett", which was used as the theme for the television show The Beverly Hillbillies. My country roots, part 1 - tv.

17. Kiss an Angel Good Mornin' - Charley Pride
My country roots, part 2 - my mum.  Her favorite artist was Charley Pride. Pride is one of the few Black country musicians to have had considerable success in the largely Caucasian country music industry and the only one to be inducted into the Grand Ole Opry. At this time, country music was a white medium. Jack made sure that there were no pictures of Charley distributed for the first two years of his career, in order to avoid the effects of Jim Crowism. "Kiss an Angel Good Mornin'" is a 1971 song and has since become one of his signature tunes. It was his eighth song to reach number one on the country charts and his first single to reach the pop charts.

Bonus Track: Country Funk - Robbie Jones
From Robbie's myspace page: "My name is Robbie Jones, and I have a new CD out entitled,'Country Funk'. Why Country Funk? Because I'm a Maysville/Belgrade country boy who loves to get funky."

Listen now here

Listen later here
 


Ymaginatif said:

It only took me 26 days?! I finally get a chance to listen to Maceo's latest offering!

Love it! And I'm not even a particular fan of country music - so thin ice to thread!
But this is great: cool tracks, wonderful playing, and a healthy dose of funk (=the barbeceau sauce?).
And all this melded into a beautiful podcast by Mr. Maceo - he gets better everytime! This one flows beautifully, with multilingual jingles, relaxed DJ chats and even a bit of a narrative running through it all! It's a winner!

PS Love the bonustrack!!

 

Maceo Webcast #11 - Big Band Jazz

Maceo Webcast #11 - Big Band Jazz 

Maceo Musicology Webcast #11 (Big Band Swing) by Mace2theo on Mixcloud

"Sho 'nuff guaranteed to get your foot tappin' 
and your fingers snappin'"

BIG BAND

The big band is a type of musical ensemble associated with jazz, a style of music which became popular during the Swing Era from the early 1930s until the late 1940s. Big bands evolved with the times and continue to today. A big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, singers (or vocalists), and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra, society band and dance band may be used to describe a specific type of big band.

 


There was a considerable range of styles among the hundreds of popular bands. Many of the better known bands reflected the individuality of the bandleader, the lead arranger, and the personnel. Count Basie played a relaxed propulsive swing, Benny Goodman a hard driving swing, and Duke Ellington’s compositions were varied and sophisticated. Many bands featured strong instrumentalists, whose sounds dominated, such as the clarinets of Benny Goodman, Artie Shaw and Woody Herman, the trombone of Jack Teagarden, the trumpet of Harry James, the drums of Gene Krupa, and the vibes of Lionel Hampton. The popularity of many of the major bands was amplified by star vocalists, such as Frank Sinatra with Tommy Dorsey, Ella Fitzgerald with Chick Webb, Billie Holiday and Jimmy Rushing with Count Basie, Doris Day with Les Brown, and Peggy Lee with Benny Goodman.

SWING

Swing music, also known as swing jazz or simply swing, is a form of jazz music that developed in the early 1930s and became a distinctive style by 1935 in the United States. Swing uses a strong rhythm section of double bass and drums as the anchor for a lead section of brass instruments such as trumpets and trombones, woodwinds including saxophones and clarinets, and sometimes stringed instruments such as violin and guitar; medium to fast tempos; and a "lilting" swing time rhythm. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of bandleaders such as Benny Goodman and Count Basie was the dominant form of American popular music from 1935 to 1945.

The verb "to swing" is also used as a term of praise for playing that has a strong rhythmic "groove" or drive.

 

With the wider acceptance of swing music around 1935, larger mainstream bands dropped their string instruments, which were now felt to hamper the improvised style necessary for swing music. This necessitated a slightly more detailed and organized type of composition and notation than was then the norm. Band leaders put more energy into developing arrangements, perhaps reducing the chaos that might result from as many as 12 or 16 musicians spontaneously improvising. But the best swing bands at the height of the era explored the full gamut of possibilities from spontaneous ensemble playing to highly orchestrated music in the vein of European art music.

Swing jazz began to be embraced by the public around 1935. Prior to that, it had had limited acceptance, mostly among African American audiences. Radio remotes increased interest in the music, and it grew in popularity throughout the States. As with many new popular musical styles, it met with some resistance from the public because of its improvisation, fast erratic tempos, lack of strings, occasionally risqué lyrics and other cultural associations, such as the sometimes frenetic swing dancing that accompanied performances. Audiences who had become used to the romantic arrangements (and what was perceived as classier and more refined music), were taken aback by the often erratic and edginess of swing music. (wiki)

Tracklist

1. April In Paris - Count Basie
Basie was a pianist, organist, bandleader, and composer. He hit the pop charts with this now-famous 1955 performance, and kept the song in his repertoire for the rest of his career. Basie leads his band through fake endings (with his sly voice urging the band on "One more time") until finally bringing the song to its boisterous conclusion. 

2. In the Mood - Glenn Miller
Miller - a trombone player, composer and bandleader- and his Orchestra were the kings of big band during the War time hey day of the swing era. He was one of the best-selling recording artists from 1939 to 1943. His other hits included Chattanooga Choo Choo, Tuxedo Junction, and Pennsylvania 6-5000.  While he was traveling to entertain U.S. troops in France during World War II, Miller's plane disappeared in bad weather over the English Channel. His body has never been found.

3. Sing Sing Sing - Benny Goodman
The "King of Swing" Benny Goodman led one of the most popular musical groups in the mid-1930s. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music. During an era of segregation, Goodman led one of the first racially-integrated musical groups (before Sly!). "Sing, Sing, Sing" is probably the most famous tune associated with Goodman, but the most recognizable part of the song is Gene Krupa's drumming, which exists as a motif throughout the song.

4. Blue Skies  - Frank Sinatra (With Tommy Dorsey & His Orchestra)
5. Come Fly With Me (Live) - Frank Sinatra with Count Basie & The Orchestra & Quincy Jones
Sinatra began his career in the swing era with Harry James and Tommy Dorsey, before the bobby soxer idol, acting, great jazz albums and Vegas rat pack years.  These two track are a 'then and now.' First, Sinatra as the featured singer with Dorsey on Irving Berlin's 'Blue Skies' (an outtake Version from the movie 'Ship Ahoy', 1942). This is followed with the Chairman of the Board at the peak of his Rat Pack years, recorded in 1966 at the Sands hotel in Las Vegas. The live album became the de facto standard for arranging big band brass, arranged and conducted by the then youthful-pre-MJ-but-already-accomplished Quincy Jones.

6. Four Brothers - Woody Herman & His Orchestra
Four saxophones!!!  Herman was a clarinetist, alto and soprano saxophonist and singer, as well as a big band leader popular in the 1930's and 40's. "Four Brothers" is a jazz standard made famous by Herman's Orchestra.  The song features four saxes (three tenors and one baritone) in an arrangement that gives each "brother" a solo and culminates in a hard-swinging sax section chorus. The title also became a play on the four musicians that performed in the original version: Stan Getz, Zoot Sims, Herbie Steward, and Serge Chaloff.

7. Main Stem (Live)- Duke Ellington
"Duke" was a composer, pianist, and big band leader, and wrote over 1,000 compositions. In the words of Bob Blumenthal of The Boston Globe "In the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington."  This is from the "Private Collection" or Ellington's Vault in purple terminology.  He kept recording his big band at his own expense during the 50's-70s when big band music was no longer popular.  This is from Volume 2 (of 10) and is a live dance concert from 1958.  As it was initially recorded not for release, you can hear all the banter between the musicians and Duke on stage as the concert progresses - they were having a blast! Duke is my favourite big band leader, btw.

8. Goody, Goody - Ella Fitzgerald with Quincy Jones and His Orchestra
9. Mack the Knife (Live) - Ella Fitzgerald with Duke Ellington and His Orchestra
Ella Jane Fitzgerald was a vocalist also known as the "First Lady of Song" and "Lady Ella," with a vocal range spanning three octaves (Db3 to Db6). she was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Once again with the 'then and now,' the first track is from 1952, and features a cool breakdown, with Quincy Jones and his Orchestra. The second features Ella live with Duke Ellington in 1966. After successfully improvising the lyrics for the song, "Mack the Knife" after forgetting them, it became a way for her to improvise when performing it live - free style rap ahead of its' time. 

10. Swingin' the Blues - Count Basie
Basie favored blues, and he showcased some of the most notable blues singers of the era: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams.

11. Let the Good Times Roll - Ray Charles
Ray Charles was a pioneer in fusing rhythm and blues, gospel, and blues styles into his early recordings while he helped racially integrate country and pop music during the 1960s with his crossover success. While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company.

So he mixed different genres and owned his master recordings...reminds me of somebody...anyway, Ray does the blues with a big band.

12. Boogie Woogie (I May Be Wrong) (Live) - Count Basie
Recorded live at the Newport Jazz Festival in 1957 with Jimmy Rushing on vocals and Lester Young on tenor sax

13. Diminuendo and Crescendo in Blue [Live] - Duke Ellington   
Diminuendo and Crescendo in Blue" is a big band jazz composition written in 1937 by Duke Ellington. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue."  At the historic 1956 Newport Festival, Duke told tenor saxophonist Paul Gonsalves to blow as long as he wanted during the interlude, which Ellington later called "The Wailing Interval" or "Blow By Blow." In what has since become jazz folklore, Gonsalves almost created a riot as he played a tenor sax solo for 27 choruses that stirred up the normally staid crowd into a frenzy. A striking platinum blonde woman in a black evening dress, named Elaine Anderson, jumped from her box seat and started dancing.This helped serve as a catalyst for the crowd frenzy that grew as Gonsalves continued his forceful, energetic solo.

Listen now here

Listen later here