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Latest night I went late to the jazz festival here. I didn't wish to go but Scofield was there. I had problem finding him at first as he was not on the main stage. I had to walk down a trail through some woods to a clearing to search Scof and the band grooving in the night for a little but very appreciative crowd of devotees.I can't give you the exact feeling from latest night. I'll never forget it. Everyone was animated because you just gotta move when melody is that good. It was all smiles and enthusiasm. Scof has very devoted followers and if you dig his melody I'm sure you know why. There's something almost spiritual about his melody and the method he presents it...like a man on a mission.He's relentless in hunting down that elusive next creation that scurries away if it finds you looking at it before it's fully created. A Scofield present will almost surely be successful in this as John insists.If you go to a Scofield concert and don't of a sudden explore you're ! floating a few feet above the bodies of the crowd, you need to unwind. He sends me is album has some of the flavor of the concert I saw in the woods latest night. Scofield lets the other players fully develope their own insights on each tune then picks through them to search the materials to build the next structure to hang the song of is a master of improv and especially with this sort of coffee house band he really lets it hang out. Often I am reminded of Ornette Coleman or John Coletrane when Scof takes the long method from point a to point b. No straight lines here.
Scofield's has place together a unbelievable group of musicians and tunes for this rhythmic workout. This album simply does not have a low point or weak track. Most tracks feature a nice, accessible funky groove, hence the title. Sco does slow it down for a few tunes to feature his acoustic guitar, with pleasing results. The horns and organ contribute heavily on several tunes, although there is still room for Sco to stretch out with some amazing solos on most e lone complaint I would have is that the bass is not quite loud enough in the mix. On a funky set like this, I would have liked to hear the bass a bit more is album should rank as one of Sco's finest, a fine complement to "a go go" and "bump" which are also highly recommended. For the keen ear, listen carefully for motifs and beats (tracks 4 and 10) that Sco explores again later on his next two funk albums.
"GROOVE BLUES" IS A COMPANION CD TO JUG'S;"THE BIG SOUND"CD. (CHECK MY REVIEW.)BOTH CD'S HAVE THE SAME PERSONNEL. IN THIS CD YOU GET 3 RARE ALTO SOLO'S BY COLTRANE. GENE IS PLAYING HIS THOUGHTFUL/SOULFUL BIG SOUND TENOR SAX WITH SOME OF HIS JUG-ISUMS THROWN IN FROM TIME TO TIME. THIS IS A BLUES TINGED JAZZ CD. THE MUSICIANS ARE AT THE TOP OF THEIR GAME, JUST LIKE "THEBIG SOUND" ALBUM. (BOTH SESSIONS WERE RECORDED ON THE SAME DAY.) A THIRD COMPANION CD IRECOMMEND IS,"OUT SKIRT'S OF TOWN" PLAYED BY THE 'BLUES SWINGER'S' FEATURING,PEPPER ADAMS,JIMMY FORREST,IDRESS SULEMAN ART FARMER,RAY BRAYNT,TINY GRIMES(WITHOUT AMMONS) ETC. THIS CD COULD BE PLAYED EVERY OTHER DAY. THAT'S HOW GREATTHIS 5 STAR JAM SESSION IS! I'M TALK'N 'BOUT,"GROOVE BLUES." (by the way,PEPPER ADAMS bari solo's onthis cd are some of his best.)
I really enjoyed this collection of tracks from some of the top didgeridoo players in the world. There is a nice dozens of styles and approachs to using the ancient instrument in modern and sometimes not so modern ways. I think in a lot of ways, this CD would be an perfect introduction to the didgeridoo for those curious about it's use in contemporary music.
Body Groove is amazingly fun and incredibly rewarding! Misti is a Amazing teacher. The application itself is simple to use and does exaxtly what it's intended to do. I would absolutly reccomend this to anyone out there looking for a fresh healthy challenge in live. You won't regret it!
I have finally found a workout that I enjoy! I have always hated exercising because it was so miserable. I tried other dance workouts, but I had to learn the dances just to do them. This is for everyone who just loves to dance and doesnt wish to fool with learning outrageous dance moves. I finally have fun exercising!
Lately I have been rediscovering jazz melody from the 1990s, and I have come to realize that the period from 1990-2000 was actually a beautiful amazing time for that genre. Jazz in the 1990s became beautiful diverse, with a lot of various types of "fusions" coupling jazz-inspired improvising with other styles of music. John Scofield was one of the leaders of the pack, with a string of accessible yet challenging albums that dipped into a kind of soul-jazz and funk that was reminiscent of 1960s and 1970s melody by the likes of Jimmy Smith, Grant Green and Eddie Harris (albeit with an updated feel).Groove Elation and Hand Jive (which actually featured Eddie Harris) were two of the best of these albums, as was A Go Go (featuring avant-funk-jazz trio Medeski, Martin and Wood). Groove Elation was special for its smoother feel and extensive use of horns as well as Fresh Orleans-styled rhythms. The songwriting was uniformly powerful throughout, and the melody both gritty and cerebral. There is a lot to appreciate here upon repeated listens. I think that this one has really stood the try of time and is an essential classic of modern jazz.If you can obtain past the cheesy album cover, this album has so much to offer the listener. One of the greatest albums from one of the best musicians in jazz.
If you're reading this, you are either a jazz head or a scofield fan. If you like jazz, you may or may not like this. Jazz is like Christianity: there are so a lot of denominations that just saying "Jazz" doesn't really mean anything. That said, this is more like A-Go-Go and Bump than Scofield's more "pure" jazz recordings. It is, however, less abstract and Avante Garde than either of those. Confused yet? Well, lets just say its groovy, jazzy, interesting music, perfectly composed and perfectly played. This is, however, about THE worst album cover I've ever seen.... come on Sco', where is your dignity man?!?!? (:
I remember driving to Ocean City, MD on a hot, humid July day with this CD in my stereo, and it made the excellent mood. The soloing is superb, with an uncompromising bop influence while retaining accessibility. Also, the amazing dozens of instruments employed makes it fun to listen to repeatedly. I'm going to give it 5 stars despite some dubious rapping on tracks 3 and 9. Track 6, "Whatugot," is for me the standout with the smooth vocals, hip-swaying beat, and extended solos. The rapping would obtain a small better (and scarcer) on the next album. I challenge anyone who believes jazz is boring elevator melody to listen to this CD and hold from nodding their head. Sadly, this band has been VERY inactive in latest years, with no fresh studio CDs since 2001 and few performances outside of NYC. Let's hope they take their present on the street once again.
Energetic and infectious melody full of rhythms, brass section, and different other instruments with jazz overtones, performed by skillful musicians. You can feel the cohesion and diversity of the band in each piece played. I bought this CD several years ago and still listen to it. An impressive first release.
I think there are two types of tenor fans... Those who've barely heard of Gene Ammons (way too young to remember his heyday) and those who have and know that he was the quintessential warm, bluesy, swinging huge tone tenor of the '50s and '60s (and Sonny Sitt's right hand man.)This session has a somewhat laid back "after hours" jam session feel, and actually resulted in not one but two albums, the other being, THE BIG dly, if my math is correct it was recorded just prior to getting busted on a narcotics rap... so it wouldn't be another 2 years before he was back on the scene... How frustrating it must have been to his fans of that era, because this album definitely leaves you wanting more... and no doubt he gave it: BOSS TENOR was just around the for the ensemble:Personnel: Gene Ammons (tenor saxophone); John Coltrane (alto saxophone); Paul Quinichette (tenor saxophone); Pepper Adams (baritone saxophone); Jerome Richardson (flute); Mal Waldron (piano); George Joyner (bass); Art Taylor (drums).Though Richardson's sweet and groovy flute solos beautiful much are *the* icing on the cake for me, it is fascinating to hear a young, heavily Charlie Parker influenced John Coltrane blowing (for a second I thought it was Stitt!) - - Mal Waldron also takes some really thoughtful and engaging solos. - - Ballad lovers, obtain ready to be taken to third heaven when the ensemble gets into the classic Standard IT MIGHT AS WELL BE SPRING... one of the classiest versions I've ever heard... master brush work by Art Taylor...!Though the horn arangements at times are quite interesting because of the baritone/tenor/alto/flute mix... not sure this is always amazing or poor -- regardless, the rhythm section is really swinging and in the pocket... as a effect even though you don't obtain to hear non-stop Ammons ("the all stars" all getting their time), when you do (or whoever you hear) its really upfront...All in all, to all Ammons fans, I urge you this: Buy as a lot of copies of this (and other Ammons sessions), and obtain it in the hands of all those young players who haven't heard any of the players that came before Shorter and Coltrane and school them URGENTLY... because what the globe needs today is AMMONS !
I have already purchased Bodygroove Streaming 2 years ago. I was hoping to be able to begin my acc here, but cannot. I will still have to log in over my internet connection on the bodygroove www service otherwise i have to pay again, which makes no sense at all. There should be a method for old streaming accounts to use the app.
it does not work with my Android device television box so i cant watch it on a full screen while i work out. i will test some of the others. plus the subscription is pricey for me since i dont use it that much. They should allow you say buy a series or even an episode.
John Scofield is a phenomenal player. He's one of those players that makes you wish to slam your fingers in a door and run your guitars through a wood chipper. A tendency for guitar players is to allow their guitars "talk" too much, but not Scofield. His phrasing only includes the right number of notes and they are never rushed. He's also not afraid of letting his guitar be silent either, letting his pauses build tension in the melody as rhythm keeps moving forward. Don't be mistaken that this is a guitar album, because it is not. This album might have Scofield's name on it, but it is definitely a group effort. Larry Goldings adds to the magic with counterpoint on the organ and piano, the walking bass of Dennis Irwin, and drummer Idris Muhammad drums the method jazz should be l of the songs on this album are keepers, and were written by Scofield. Each song is inherently different, and provides a amazing listening experience. From his soft tones in "Soft Shoe" to the opening groove in "Lazy", Scofield writes and plays beautifully. Scofield also brings horns into the mix with songs like "Bigtop", "Lazy", and "Kool".This is a fun album to listen to as the band interacts as one. Each member builds off of the other. Even though the soloist stands out, you can still hear each individual member as if they were playing alone. Very rarely do you hear such talent mix so well that one is not playing on top of another. If you're into jazz, admire amazing musicians, and like melody that has something to say, look no further.
I've been listening to William Clarke's recordings for a few years now (never saw him in person) and I think I like him even more as time goes on. This recording is especially amazing and represents everything amazing about Clarke's music. Most obviously, he's a powerful, aggressive and distinctive harp player. Using both Chromatic and Diatonic instruments, Clarke achieves the bold tone of players like Small Walter, but pushes the envelope with his intricate licks and jazz-like style. It's still the blues, though, as you'll note when you here him sing - he's a fine vocalist, one who compares very favorably with white singers like Kim Wilson. One of the things that makes this work for me is the song selection. The rhythms and tempos are built for a harp soloist, favoring jump and swing. It's true barroom dance floor items punctuated by amazing harp work and stinging guitar solos. The melody is especially well recorded which allows amazing presence for the bass and drums. It's party melody - when the drums begin to swing and the horn section pops, the William Clarke band is really cooking. Groove time for sure.
I bought this album when it debuted a few years ago after reading an article on the band. It reminds me of Herbie Han and the Funky Headhunters sound minus the synths. The percussionists are diverse and lay the foundation for grooves that seem to latest forever. This is definitely a must have to add to any melody lover's collection. The second album, "We The People" was a disappointment, the style is totally various and leans more toward a mainstream pop/hip-hop/jazz fusion project. I sampled some of their later recordings but I have to say that this first album was and still is the best of them all, pick it up.
Ethiopiques, Vol. 13: Ethiopian Groove, is one of the stronger compilations in this awesome series! This compilation features the all stars and lesser know singers of Ethiopian soul!Volume 13 features melody from the late sixties and seventies, and the melody is more uptempo and features tighter arrangements and better recording quality than some of the other discs in this series.I would definitely recommend this disc (or Ethiopiques Vol. 8, Swinging Addis) as a amazing starting point in this ever-growing series.
There's no accounting for taste, they say. I'll just say that this anthology of latest famous Turkish melody is great! Should more than gratify normal expectations of melody, rhythm, arrangement. Not for someone who doesn't speak Turkish and insists on understanding the lyrics, of course (although there is a sprinkling of French and a nice dose of Spanish in a couple of songs). Anyone whose mentality incorporates even an iota of cosmopolitan tastes would love this music, I think.
My Turkish roommate and I listen to this CD repeatedly without getting tired of it. The melodies are very catchy (we hum them when not listening), and it's amazing melody to have in the background while driving on a sunny day or cooking. Non-Turkish mates think it's a mostly upbeat CD of exotic "bellydancing" music. My Turkish language skills are minimal, so I don't really message the lyrics. Although I like all the songs, my roommate dislikes song #7 by Emrah, because the lyrics and style are "old-fashioned."
What a amazing fusion of a dozens of instruements and musical styles. Every track is great. This is the best cd I have bought in along while. Drums, sax, flute, didgeriedo and others to create a mesmerising collection of globe music. You won't search melody like this on famous radio. Can't say enough about this amazing collection of music.
I have been suffering from hip pain that is due to muscle imbalances. All of the stretching and standard exercises that one can do have only effected minimal improvement in my pain. I was intrigued with Body Groove because in following along with the samples given in the ads, I was able to improve my pain level. I couldn't decide between the DVDs and the streaming experience so I decided on the 7 day trial of streaming. Glad I did as there is even more amazing content than offered in the DVDs.
This is fantastic, fun exercise. I don't look like a professional dancer except in my head, but feeling like a dancer is by itself uplifting. I do this every morning. Even 15 mins a day is over seven hours of dancing a month! Oh dear, I have found that I do NOT like the second instructor for me. She must be for younger people who always wish to work hard & fast. She's very quick & hard for me to follow. All I could think about is that I wished I was dancing with instruction from Melissa.
Groove Time is William Clarke's best recording in my opinion. They're all good, but this release just stands at the the top. It showcases his talent in every way. Searing, uninhibited vocals filled with such emotion, you know he's singing about his life. Amazing band, Jazz, swing, Blues! It's all here in the William Clarke blender, and it explodes out of the speakers and into your soul. A harp player that swings with the best. Chicago met the West Coast, and they named it Groove Time! The Blues Doctor
...1994 in NYC @ Turret Records on B'way with a fresh boyfriend, 20 years old.i was looking for a particular Hip Hop record, and this album was being played. i fell in love...i always had a profound respect for jazz, but because i wasnt raised on jazz music, i had no frame of reference to go oove Collective was my entrance that led me to the Legends and The gods (Coltrane, Miles, etc.)However, as another reviewer stated in his/her commentary, this CD is Seriously Classic -Ms. Grier is my favorite, however i cherish the entire Suite and deem The Musicians show on this albums as is CD conveys Originality and Freedom, it conveys NYC's underground jazz scene, a time that i really took for granted, i want that i could go ings me back to my first apartment, me and my cat in the basement with incense and this CD as our only company. I miss those days a Heap and i am so grateful that it can now be downloaded because i bought it 3X and ran them down, Lol...it's that Great.hope this assists in anyone's pursuit of purchase...
...there's no review of this one either?Where are all the civilized, jazzological Hi-fi'd on air DJ's anymore? This piece has Coltrane on alto- 3 tunes...he only played an alto on 3 other dates.Ey? Mal Waldron here is TOPS!! Papper Adams!1958! UNbelievable!!Get all the items you can search from that ere involving VanGelder and what he was putting out then.Easy to hear Nick Brignola in Pepper on this jam!! 'Ammon Joy' is TOPS!!
I really like this CD. It is upbeat and has some amazing dance beats to it. I could have done without the hip hop/pop portions(not a huge fan of that type of music) but even with that, it is a very amazing CD and it is on the player with my other top 3. The first song Bendeniz is amazing belly dancing music. It really gets the hips e only reason I gave this CD 4 starts is because of the very few hip hop areas, but even those are begining to grow on me.
this is a record you can listen to a hundred times, and that hundredth time it will still place a huge gooey smile on your face. not generally a jazz fan, too cliche, but this is a desert island disc if there ever was one. most of the band is still together, though without the brilliant keyboardist Itaal Shur, the assassin vibes and yummy dirty trombone (sigh), but they still have the ripping tight drummer, the toppest top shelf sax player, the excellent trumpeter, and that wicked amazing bass player. man to go back in time and see the classic lineup tearing it up live one more time...buy this record. buy several, give them away.
I've always thought that Charlie Musselwhite was the living embodiment of cool -- and I still do -- but William Clarke gave all fresh meaning to the word "cool." William Clarke had excellent tone on the harp, whether it's a foghorn wail or a rolling machinegun warble, he hit every note firmly, perfectly...others may blow faster, but few can achieve his deep soulfulness. He also possessed a amazing singing voice. I was fortunate to see William Clarke live in early 1995 @ Buddy Guy's Legends, supporting his CD "Groove Time." (He died shortly thereafter) Mixing California swing with gutbucket west-side blues, Clarke and band powered up a way-fat sound with hollow body guitars, standup acoustic bass, furious drumming and some of the best damn harp blowing I've ever heard. Down on his knees or standing up under the lights, honking and wailing to his own cool beat, Clarke looked like a big, sweaty bear with a suit and shades, and sounded like the best thing to happen to harp blues since Charlie Musselwhite and Junior Wells. "The more noise you make, the better we play!," Clarke told the crowd, which wasn't really important since the house was already making almost as much noise as the band was. Several times Clarke walked offstage to hang out at the bar with fans while the band worked off some steam by themselves. What a show! For those who never got to see him live, check out "Groove Time," Clarke's 3rd release on Alligator Records. Three Words: Hellacious Harp Honker. That perfectly describes William Clarke on this aptly named CD...if this doesn't create you wanna move & groove or boogie and bark like a huge ol' dawg, check your joints for unexplained stiffness -- you may already be dead. Backed by a dozens of musicians, Clarke growls and honks his method through the 15 cuts (11 of them original, ALL of them good) that comprise this CD. Slashing guitars, metronymic drums, tasty keyboards and a totally-fat horn section give Clarke a billboard-sized backdrop to work with. Too Cool. Check out the jazzy instrumental swing blues of "A Amazing Girl is Hard to Find," the restrained and mournful "Somebody Callin' Me Home," and the high-stepping "Blowin' the Family Jewels," which features a call & response harp/axe duel. The jewel of this recording is a low-down treatment of Arthur "Bigboy" Crudup's "Chicago Blues." God Rest Ye', Mistah Clarke, you left us all too soon, with too few recordings of your wonderful talent to remember you by.
January 3, 1958, was a productive day in Gene's recording career, where on he recorded enough material for two complete Prestige albums (see also "The Huge Sound"). This blowing session features Gene's huge tenor along with John Coltrane (on alto sax, rather unusual), Pepper Adams on baritone sax, Paul Quinichette's Lestorian sound on tenor, Jerome Richardson on flute, and a rhythm section of Mal Waldron, George Joyner, and Art Taylor. The title track is a medium blues done just right, and everyone swings for the seats on "Jug handle." A nice date that won't allow you down.