PW: egroj

domingo, 27 de mayo de 2018

Tom Kennedy • Just For The Record

Kenny Drew & Hank Jones Great Jazz Trio • New York Stories

Toots Thielemans • Bluesette

John Lee Hooker • In Person

He was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.
The Hook was a Mississippi native who became the top gent on the Detroit blues circuit in the years following World War II. The seeds for his eerily mournful guitar sound were planted by his stepfather, Will Moore, while Hooker was in his teens. Hooker had been singing spirituals before that, but the blues took hold and simply wouldn't let go. Overnight visitors left their mark on the youth, too legends like Blind Lemon Jefferson, Charley Patton, and Blind Blake, who all knew Moore.
Hooker heard Memphis calling while he was still in his teens, but he couldn't gain much of a foothold there. So he relocated to Cincinnati for a seven-year stretch before making the big move to the Motor City in 1943. Jobs were plentiful, but Hooker drifted away from day gigs in favor of playing his unique free-form brand of blues. A burgeoning club scene along Hastings Street didn't hurt his chances any.
In 1948, the aspiring bluesman hooked up with entrepreneur Bernie Besman, who helped him hammer out his solo debut sides, Sally Mae and its seminal flip, Boogie Chillen. This was blues as primitive as anything then on the market; Hooker's dark, ruminative vocals were backed only by his own ringing, heavily amplified guitar and insistently pounding foot. Their efforts were quickly rewarded. Los Angeles-based Modern Records issued the sides and Boogie Chillen -- a colorful, unique travelogue of Detroit's blues scene -- made an improbable jaunt to the very peak of the R&B charts. --- by Bill Dahl, AMG

Stéphane Grappelli • Meets Barney Kessel

Review by Scott Yanow
This excellent set features a logical combination. Violinist Stephane Grappelli originally came to fame through his recordings with guitarist Django Reinhardt. Barney Kessel, although more influenced by Charlie Christian than by Django, was one of the top jazz guitarists of the 1950s and '60s and his style was quite complementary to Grappelli's. The two teamed up for several albums' worth of material in 1969. This CD reissues the former LP I Remember Django, adding four additional selections and serving as a perfect introduction to the brilliant playing of Stephane Grappelli.

Naveen • Fluid - Flute Grooves