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1961 Jazz record Richard "Groove" Holmes

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1961 Jazz record Richard Groove Holmes
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An as is old 33 r.p.m. "Tell it like it tis", great music by Richard 'Groove" Holmes, Ben Webster, Les McCann, Gene Ammons, Joe Pass; as it cover, this long play vinyl record is slightly used and still very playable for the songs: Hittin' the jug; Blow the man down; Denice; Later; This Here; Me secret love; It might as well be spring; Licks a plenty; can this be consider Black Americana or Jazz or another form - said to be ACID Jazz???
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http://en.wikipedia.org/wiki/Richard_Holmes_(organist)

Richard Arnold "Groove" Holmes (Camden, New Jersey, May 2, 1931 – St. Louis, Missouri, June 29, 1991) was an American jazz organist who performed in the hard bop and soul jazz genre. He is best known for his 1965 recording of "Misty", and is considered a precursor of acid jazz.[citation needed]

Holmes' first album, on Pacific Jazz with guest Ben Webster, was recorded in March 1961.

Jimmy Witherspoon sings the Blues Society SOC968 1964

His sound was immediately recognizable in the upper register, but even more so because of his virtuosity in creating, undoubtedly, the most rapid, punctuating, and pulsating bass lines of all the jazz organists.[citation needed]

Though he died at the age of 60, he established a recognition within the community of jazz organ giants of Jimmy Smith (The Sermon!), Brother Jack McDuff (A Real Good 'Un), Jimmy McGriff (I've Got a Woman).

He recorded many albums for Pacific Jazz, Prestige Records, Groove Merchant and Muse Records, many of which featured Houston Person.

Holmes died after a long struggle with prostate cancer, having performed his last concerts in a wheelchair. One of his last gigs was at the 1991 Chicago Blues Festival with his long time friend, singer Jimmy Witherspoon. A year after his death, the Beastie Boys honoured Holmes by adding an organ-based instrumental track, "Groove Holmes" to their album Check Your Head.
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Ben Webster:
http://en.wikipedia.org/wiki/Ben_Webster

Ben Webster.jpg

Background information


Birth name
Benjamin Francis Webster

Also known as
"The Brute", "Frog"

Born
March 27, 1909

Origin
Kansas City, Missouri, United States

Died
September 20, 1973 (aged 64)
Amsterdam, Netherlands

Genres
Jazz

Occupation(s)
Saxophonist

Instruments
Tenor saxophone

Associated acts
Coleman Hawkins, Oscar Peterson, Duke Ellington

Benjamin Francis Webster (March 27, 1909 – September 20, 1973), a.k.a. "The Brute" or "Frog", was an influential American jazz tenor saxophonist. Webster, born in Kansas City, Missouri, is considered one of the three most important "swing tenors" along with Coleman Hawkins and Lester Young. Known affectionately as "The Brute", he had a tough, raspy, and brutal tone on stomps (with his own distinctive growls), yet on ballads he played with warmth and sentiment. Stylistically he was indebted to alto star Johnny Hodges, who, he said, taught him to play his instrument.
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Les McCann:
http://en.wikipedia.org/wiki/Les_McCann

Leslie Coleman "Les" McCann (born September 23, 1935, in Lexington, Kentucky) is an American soul jazz pianist and vocalist whose biggest successes came as a crossover artist into R&B and soul.

An early musical success for McCann was his winning of a Navy talent contest for singing; this led to an appearance on The Ed Sullivan Show. McCann's main career began in the early 1960s when he recorded as a pianist with his trio for Pacific Jazz Records.

In 1969, Atlantic Records released Swiss Movement, a recording of McCann with frequent collaborator, saxophonist Eddie Harris, and guest trumpeter Benny Bailey at that year's Montreux Jazz Festival.[3] The album contained the song "Compared to What", and both the album and the single were huge Billboard pop chart successes. "Compared to What" featured political criticism of the Vietnam War. The song was not written by McCann; fellow Atlantic composer/artist Eugene McDaniels wrote it years earlier. "Compared to What" was initially recorded and released by soul vocalist Roberta Flack. Her version appeared as the opening track on her debut recording, First Take (1969).

After the success of Swiss Movement, McCann — primarily a piano player — began to emphasize his rough-hewn vocals more. He became an innovator in the soul jazz style, merging jazz with funk, soul and world rhythms; much of his early 1970s music prefigures the Stevie Wonder albums of that decade. He was among the first jazz musicians to include electric piano, clavinet, and synthesizer in his music.

In 1971, he and Harris were part of a group of soul, R&B, and rock performers — including Wilson Pickett, The Staple Singers, Santana and Ike & Tina Turner — who flew to Accra, Ghana for a historic 14-hour concert before more than 100,000 Ghanaians. The March 6 concert was recorded for the documentary film Soul To Soul. In 2004 the movie was released on DVD with an accompanying soundtrack album.

Les McCann discovered Roberta Flack and arranged an audition which resulted in a recording contract for her with Atlantic Records.

A mild stroke in the mid 1990s sidelined McCann for a while, but in 2002 he released a new album, Pump it Up. McCann has also exhibited as a painter and photographer.
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Gene Ammons

http://en.wikipedia.org/wiki/Gene_Ammons

Eugene "Jug" Ammons (April 14, 1925 – July 23, 1974[1]) also known as "The Boss", was an American jazz tenor saxophonist, and the son of boogie-woogie pianist Albert Ammons.

Born in Chicago, Illinois, Ammons studied music with instructor Walter Dyett at DuSable High School. Ammons began to gain recognition while still at high school when in 1943, at the age of 18, he went on the road with trumpeter King Kolax's band. In 1944 he joined the band of Billy Eckstine (who bestowed on him the nickname "Jug" when straw hats ordered for the band did not fit), playing alongside Charlie Parker and later Dexter Gordon. Notable performances from this period include "Blowin' the Blues Away," featuring a saxophone duel between Ammons and Gordon. After 1947, when Eckstine became a solo performer, Ammons then led a group, including Miles Davis and Sonny Stitt, that performed at Chicago's Jumptown Club. In 1949 Ammons replaced Stan Getz as a member of Woody Herman's Second Herd, and then in 1950 formed a duet with Sonny Stitt.

The 1950s were a prolific period for Ammons and produced some acclaimed recordings such as "The Happy Blues" (1955), featuring Freddie Redd and Lou Donaldson. Musicians who played in his groups, apart from Stitt, included Donald Byrd, Jackie McLean, John Coltrane, Kenny Burrell, Mal Waldron, Art Farmer, and Duke Jordan.

His later career was interrupted by two prison sentences for narcotics possession, the first from 1958 to 1960, the second from 1962 to 1969. He recorded as a leader for Mercury (1947–1949), Aristocrat (1948–1950), Chess (1950–1951), Prestige (1950–1952), Decca (1952), and United (1952–1953). For the rest of his career, he was affiliated with Prestige. After his release from prison in 1969, having served a seven-year sentence at Joliet penitentiary, he signed the largest contract ever offered at that time by Prestige's Bob Weinstock.

Ammons died in Chicago in 1974, at the age of 49, from cancer.

Ammons and Von Freeman were the founders of the Chicago school of tenor saxophone. Ammons's style of playing showed influences from Lester Young as well as Ben Webster. These artists had helped develop the sound of the tenor saxophone to higher levels of expressiveness. Ammons, together with Dexter Gordon and Sonny Stitt, helped integrate their developments with the emerging "vernacular" of the bebop movement, and the chromaticism and rhythmic variety of Charlie Parker is evident in his playing.

While adept at the technical aspects of bebop, in particular its love of harmonic substitutions, Ammons more than Young, Webster or Parker, stayed in touch with the commercial blues and R&B of his day. For example, in 1950 the saxophonist's recording of "My Foolish Heart" made Billboard Magazine's black pop charts.[2] The soul jazz movement of the mid-1960s, often using the combination of tenor saxophone and Hammond B3 electric organ, counts him as a founder. With a thicker, warmer tone than Stitt or Gordon, Ammons could at will exploit a vast range of textures on the instrument, vocalizing it in ways that look forward to later artists like Stanley Turrentine, Houston Person, and even Archie Shepp. Ammons showed little interest, however, in the modal jazz of John Coltrane, Joe Henderson or Wayne Shorter that was emerging at the same time.

Some ballad performances in his oeuvre are testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular that can now be described as, in its own way, "classical".
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Joe Pass

http://en.wikipedia.org/wiki/Joe_Pass

Joe Pass (born Joseph Anthony Jacobi Passalacqua, January 13, 1929 – May 23, 1994) was an American virtuoso jazz guitarist of Sicilian descent. He is generally considered to be one of the greatest jazz guitarists of the 20th century. His extensive use of walking bass lines, melodic counterpoint during improvisation, use of a chord-melody style of playing and outstanding knowledge of chord inversions and progressions opened up new possibilities for the jazz guitar and had a profound influence on later guitarists.

Born in New Brunswick, New Jersey, Joe Pass, the son of Mariano Passalacqua, a Sicilian-born steel mill worker, was raised in Johnstown, Pennsylvania. He received his first guitar, a Harmony model bought for $17, on his 9th birthday. Pass' father recognized early that his son had "a little something happening" and pushed him constantly to pick up tunes by ear, play pieces not written specifically for the instrument, practice scales and not to "leave any spaces" - that is, to fill in the sonic space between the notes of the melody.

As early as 14, Pass started getting gigs and was playing with bands fronted by Tony Pastor and Charlie Barnet, honing his guitar skills and learning the music business. He began traveling with small jazz groups and eventually moved from Pennsylvania to New York City. In a few years, he developed a heroin addiction and spent much of the 1950s in prison. Pass managed to emerge from narcotics addiction through a two-and-a-half-year stay in the Synanon rehabilitation program. During that time he "didn't do a lot of playing". In 1962 he recorded Sounds of Synanon. It was about this time that Pass received his trademark Gibson ES-175 guitar as a gift, which he subsequently used for touring and recording for many years.

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