BLUES ARTIST BIRTHDAY:
Frank "Son" Seals - Son Seals was a talented showman and fiery guitarist that many fans believe to be the best bluesman of the 1970s. Even as blues music was being eclipsed by the commercial growth of R&B and funk and, later, the dance floor appeal of disco, Seals continued to stay true to his uncompromising vision of guitar-driven blues. A gruff vocalist and raw, electrifying performer, Seals' weapon was his mastery of the almighty guitar riff, which attracted an audience weaned on 1960s-era blues-rock. He died on December 20, 2004 in Chicago, Illinois.
Jazz Albums Recorded:
Thelonious Monk w/ Gerry Mulligan - Mulligan Meets Monk (1957)
Track Listing:
‘Round Midnight
Rhythm-A-Ning
Sweet and Lovely
Decidedly (Album Version – take 4)
Decidedly (Album Version – take 5)
Straight, No Chasaer (Album Version –
take 3)
Straight No Chaser (Album version –
take 1 alternate)
I Mean You (Album Version – take 4)
I Mean You (Album Version – take 2
alternate)
‘Round Midnight
Rhythm-A-Ning
Sweet and Lovely
Decidedly (Album Version – take 4)
Decidedly (Album Version – take 5)
Straight, No Chasaer (Album Version –
take 3)
Straight No Chaser (Album version –
take 1 alternate)
I Mean You (Album Version – take 4)
I Mean You (Album Version – take 2
alternate)
Review - Scott Yanow at Allmusic: :
In the late 1950s/early '60s, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians whom he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware, and drummer Shadow Wilson on a surprisingly successful date. Monk and Mulligan blend together quite well on what was essentially Thelonious' repertoire of the era including "'Round Midnight," "Rhythm-A-Ning," "Sweet and Lovely," and "I Mean You."
In the late 1950s/early '60s, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians whom he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware, and drummer Shadow Wilson on a surprisingly successful date. Monk and Mulligan blend together quite well on what was essentially Thelonious' repertoire of the era including "'Round Midnight," "Rhythm-A-Ning," "Sweet and Lovely," and "I Mean You."
Odean Pope & and Khan Jamal Quartet - Nothing is Wrong (2003)
Track Listing:
Almost Like Me Part II
Nothing is Wrong
Three
The Spirit Room (take 3)
The Magnificent One
The Rhythm Thang
Voice
The Spirit Room (take 1)
Almost Like Me Part II
Nothing is Wrong
Three
The Spirit Room (take 3)
The Magnificent One
The Rhythm Thang
Voice
The Spirit Room (take 1)
Review - Steve Loewy at Allmusic:
This is an eminently tasteful recording, as to be expected from any session led by Odean Pope and Khan Jamal, each masters of the understated. What distinguishes this one, though, is the raw, powerful, and, yes, Coltrane-esque sound of Pope, who, like a fine wine, seems to get better with age. The saxophonist came of age in the '60s and '70s, and although he incorporates some lessons from the more radical aspects of those decades in his adventurous solos, he has always been strongly attracted to melody and form. It comes together well here, as the tunes resonate with quirky lines, and his improvisations are fresh and seemingly perfectly constructed. Pope is a sort of middleweight champion (to apply the term used to describe Hank Mobley), updated to the 21st century. On the impressive title piece, "Nothing Is Wrong," for example, he lets loose a torrent of thoughtful, energized, and powerful streams, without ever sacrificing good taste. His composition "The Spirit Room" named after the famed recording facility at CIMP, is worthy of wide distribution (which is perhaps why two fascinating takes are provided), its slightly twisted melody a superb vehicle for improvising in the vein of Hard Bop and beyond. Khan Jamal suffered a stroke a year before the recording, and he had to re-learn his trade. The results are remarkable, as he sounds confident and technically adept, his vibes a fine contrast to the sax. Allen Nelson does a good job on drums navigating the tricky rhythms, and Arthur Harper shows himself to be a decent soloist and good group player. There is not a weak track on the album, the results clearly the product of considerable discipline and much practice. The sound quality is excellent, by the way."
This is an eminently tasteful recording, as to be expected from any session led by Odean Pope and Khan Jamal, each masters of the understated. What distinguishes this one, though, is the raw, powerful, and, yes, Coltrane-esque sound of Pope, who, like a fine wine, seems to get better with age. The saxophonist came of age in the '60s and '70s, and although he incorporates some lessons from the more radical aspects of those decades in his adventurous solos, he has always been strongly attracted to melody and form. It comes together well here, as the tunes resonate with quirky lines, and his improvisations are fresh and seemingly perfectly constructed. Pope is a sort of middleweight champion (to apply the term used to describe Hank Mobley), updated to the 21st century. On the impressive title piece, "Nothing Is Wrong," for example, he lets loose a torrent of thoughtful, energized, and powerful streams, without ever sacrificing good taste. His composition "The Spirit Room" named after the famed recording facility at CIMP, is worthy of wide distribution (which is perhaps why two fascinating takes are provided), its slightly twisted melody a superb vehicle for improvising in the vein of Hard Bop and beyond. Khan Jamal suffered a stroke a year before the recording, and he had to re-learn his trade. The results are remarkable, as he sounds confident and technically adept, his vibes a fine contrast to the sax. Allen Nelson does a good job on drums navigating the tricky rhythms, and Arthur Harper shows himself to be a decent soloist and good group player. There is not a weak track on the album, the results clearly the product of considerable discipline and much practice. The sound quality is excellent, by the way."
