Articles by RockyCH

Timi et ses Tahitiens - Amour et Tamoure

Timi et ses Tahitiens – Amour et Tamouré

Sleeve Notes:

TWIST DE TAHITI Le tamour se compose de 3 figures principales : les “ciseaux”, la “glissade”, le “roulement á  bille” TWIST OF TAHITI The tamour consists of 3 main figures: the “scissors”, the “slip”, the “ball bearing”

“LES CISEAUX” “Les ciseaux” est un pas exclusivement réservé aux hommes. Les genoux á  demi flechis doivent s’écarter et se rapprocher (fig. 1-2-3-4) en rythme. La cavaliére pendant ce temps tourne autour de son partenaire en se déhanchant (“roulement á  bille” fig. 9- 10) “SCISSORS” “Scissors” is a step exclusively reserved for men. Half-flexed knees should move apart and move closer (Fig 1-2-3-4) in rhythm. During this time, the rider turns around his partner while swaying (“ball-bearing” Fig. 9-10)

“LA GLISSADE” “La glissade” est un pas exécuté par les deux partenaires. Alors qu’une des jambes (la droite ou la gauche) sécarte et se resserre sans toucher le sol dans un mouvement de ciseau. Le pied á  terre dans un mouvement de glissade fait avancer le corps de face ou de coté. “SLIDING” “Sliding” is a step taken by both partners. While one of the legs (the right or the left) spreads and tightens without touching the ground in a chisel movement. Foot down in a sliding motion moves the body forward or sideways.

“LE ROULEMENT A BILLE” C’est le pas de la femme. Le haut du corps est immobile. Faire avec les hanches un mouvement ondulatoire tandis que l’homme fait les ciseaux. Pour finir la danse, les deux partenaires face á face se baissent, continuant leur figure : l’homme, les ciseaux; sa partenaire, le roulement á  bille. “THE BALL BEARING” It’s the step for woman. The upper body is still. Make with the hips an undulatory movement while the man does the scissors. To finish the dance, the two partners face each other lower, continuing their figure: the man, the scissors; his partner, the ball bearing.

Timi et ses Tahitiens - Amour et Tamouré

Listen to the last track from Side One – and imagine you’re watching Sponge Bob Squarepants

Label: RCA Victor 430 113 S

1963 1960s Covers

The George Shearing Quintet - Soft and Silky

The George Shearing Quintet – Soft and Silky

Sleeve Notes:

George Albert Shearing was born totally blind in London, England on August 13th, 1919. Studying piano by the Braille method at the Linden Lodge School for the Blind, he developed a solid classical technique and a lasting affection for Bach and Debussy.

After graduating from Linden Lodge, he toured with a band of blind musicians, discovered jazz and settled into a solo piano career.

During the War, he was featured with the Ambrose orchestra, starred on his own B.B.C. radio show and wrote arrangements for top English bands. He was voted Britain’s outstanding pianist for seven straight years in polls conducted by the Melody Maker.

He paid America a brief professional visit in 1945 and two years later moved his wife and small daughter there to stay. His unique Bach-to-bop piano stylings were soon adding to the excitement on New York’s 52nd Street.

In 1949, a quartet (composed of piano, clarinet, bass and drums) with which he had been working was approached to make records. At the last moment, it was discovered that a previous contractual agreement prevented the clarinettist from playing the record date. George quickly put together a new group, substituting vibraphone and electric guitar for the clarinet.

The group’s first recording for MGM produced September in the Rain. It and the new “Shearing Sound” were an overnight sensation. Nightclub, theatre and concert offers poured in as the George Shearing Quintet turned out hit after hit. The rest is history.

The “Shearing Sound” flows effortlessly from a mellow blend of piano, vibraphone, electric guitar, bass and drums. It floods ballads and up-tempo numbers with warmth, humour and an abiding respect for the melody. It keeps a fascinating balance between liquid-smooth ensembles and glittering solo work. It makes new material sound “lived in” and more familiar material shimmer and sparkle with surprise. Rhythmically, it never pushes –  it floats. As a most functional and flexible kind of mood music, it soothes or stimulates – as unobtrusive background music or, for those who prefer to probe more as an unfailing source of absolutely first-rate collective and individual musicianship.

This collection of favourites by the quintet includes some of its most compelling performances. Sit back, relax and get to know the soft and silky “Shearing Sound”. As your ears will lose little time in telling you, familiarity breeds content.

The George Shearing Quintet - Soft and Silky

Listen to mellowness incarnate from George Shearing

Label: MGM C-912

1962 1960s Covers

Jimmy McGriff - Electric Funk

Jimmy McGriff – Electric Funk

Sleeve Notes:

As old precepts and concepts about music come tumblin’ down as in the days when Joshua was doing his thing, a whole new spectrum of musical integration seems to be emerging from the dogmatic rubble. Take jazz, as it used to relate to the organ. At one time the organ was considered a dirty word among people who manufactured public opinion about “what was, or was not acceptable in a jazz combo, band or orchestra.” It was strictly a tool for rock and roll musicians to create a less than pure atmosphere of frenzy for a bunch of wildly undulating teeny-boppers. “Critics” are always right, aren’t they?

Now all this has changed drastically. For starters, rock has finally taken its rightful place among the genuine forms of music that have developed and evolved in our culture. Its roots have been traced further back than most people who are alive today can remember. It can be perceived in blues, gospel, folk music and, with increasing effectiveness, jazz. In addition, almost every instrument used in the current presentation or in the overall development of this mode of expression is considered “Acceptable” if it enhances the desired projection of a style or mood. Further, the gap between jazz and rock has been bridged to such an extent that they both can be found interwoven in the repertoire of many of the top record sellers of our day.

All of this prelude now brings us to Jimmy McGriff, one of the finest organists (jazz, rock or otherwise) in the vast community of modern musicians. For the last few years, his albums have been persistent testimony to individualism. His protean ability and nonrestricted approach to everything his musical taste favors have made it impossible to fit him within the boundaries of one category. He originates and then develops and in doing so presents a total picture of himself.

“Electric Funk” is the latest in the constantly evolving story of Jimmy McGriff. It’s a complete experience of thought and ability. Although the title connotes a purely upbeat rendering, “Funk” offers a mixture of tempo and feeling and in two cuts “Spear For Moon Dog” (Parts I & II) McGriff shows a great deal of musical compassion (Moon Dog is a blind man who can be found almost any day in New York City’s mid-town area dressed as a Viking and carrying a spear. He never begs money, he just listens to the world around him).

As previously stated, things have changed and the talent and incisiveness of one James Harrill McGriff stands out as one of the most convincing tributes to progress.
JEFF SMERIN (original liner notes)

Jimmy McGriff - Electric Funk

Listen to an organ with more funk than a funk filled arena on National Funk Day…

Label: Blue Note Records BST 84350

Art Production: Frank Gauna
Photography: Steve Wasserman
Redesign by Patrick Roques

1970 1970s Covers

Living Brass and Living Marimbas - The Music of Herb Alpert. Here then is the music of Herb Alpert and The Tijuana Brass interpreted by the Living Brass and Living Marimbas. It defies analysis. Enjoy it. That's what music is all about anyway.

Living Brass and Living Marimbas – The Music of Herb Alpert

Sleeve notes:

The Music of Herb Alpert – Simple, Melodious, Infectious

People like music that’s fun. They want something to sing in the shower and whistle on the street. Herb Alpert is the man who gave it to them by using two trumpets playing in parallel thirds and sixths over a strong steady beat. What critic Morgan Ames calls “modern ragtime.” The music is simple, melodious, infectious.

Since this is what people wanted to hear, the TJB sound was picked up by everyone in the business and was incorporated into every kind of music. Composer Johnny Mandel utilized it for his film score “Harper” and arranger Pat Williams incorporated it into two big-band albums. Even television was improved: Detergent commercials became less irritating when accompanied by a swinging, lilting sound.

The popular sound of the Living Brass and Living Marimbas lends itself ideally to this type of music. In this collection you’ll find many of Herb Alpert’s biggest hits, including such favorites as This Guy’s in Love with You, What Now My Love and A Taste of Honey.

Here then is the music of Herb Alpert and The Tijuana Brass interpreted by the Living Brass and Living Marimbas. It defies analysis. Enjoy it. That’s what music is all about anyway.

Living Brass and Living Marimbas - The Music of Herb Alpert. Here then is the music of Herb Alpert and The Tijuana Brass interpreted by the Living Brass and Living Marimbas. It defies analysis. Enjoy it. That's what music is all about anyway.

Label: Camden CDS 1058

1970 1970s Covers

Vacaciones en Mallorca - Various Artists - Holidays in Majorca

Vacaciones en Mallorca – Various Artists

“Holidays in Majorca”. The feel of sand between your toes, the warm ocean breeze cooling your sun-drenched skin, cold beer in one hand and a tortilla in the other. The gentle but shrill sound of “where’s the pub?” echoing around the beach as a white beer belly suddenly blocks out the sun’s rays and brings you back into the present over the muted strains of “Y Viva Espana” wafting over the parasols. In 1974 you could get all this for £29 including flights. Britons had never had it so good. This particular record is a good example of the explosion in souvenir recordings released during the seventies and eighties to cash in on the holidaymakers’ desire to recapture the joys of their summer holidays. Other examples include: Festa Italiana, Vacaciones En Hispanoamerica and Hawaiian Holiday.

Vacaciones en Mallorca - Various Artists - Holidays in Majorca

Label: Fonal MM-S-51

1974 1970s Covers

Comments

I remember my uncle and aunt buying records like this when they went to Spain for holidays. I never really understood why they had Spanish records in their collection but now I do!

John C, Auckland N.Z.