Kategorie:
Warenkorb 0

Ihr Warenkorb ist leer

Jimmy McGriff - The Worm

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

The Worm

Jimmy McGriff

Verfügbar in
16-Bit CD Quality 44.1 kHz - Stereo

Musik-Streaming

Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität

Testen Sie Qobuz kostenlos und hören Sie sich das Album an

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Abonnement abschließen

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Download

Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.

Text in englischer Sprache verfügbar

Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter. The saxophone section lays in the cut and is prodded on in a driving, funked-up, hard soul groove by the expanded rhythm section (a B-3 album with a bassist wasn't unheard of, but it wasn't standard procedure either). Solos by both McGriff and Mitchell are choppy and punchy in the extreme. The trumpeter is amazing here, offering a small taste of the sound he displayed on 1969's Collision in Black. But check out the next two tunes, both McGriff originals that push the LP into the red zone and keep it there. "Keep Loose" takes the organist head-to-head against Schwartz's electric six-string, and forces a showdown. McGriff is like an out-of-control soul singer (James Brown in a concert setting comes to mind), incessantly forcing his band to play faster, greasier, and choppier on chorus after chorus. He ups the intensity level until there is nowhere to go but over the ledge. He takes them there on "Heavyweight," the very next number, a swinging boppish blues. The horns actually keep the track grounded as McGriff gets terse, dense, and finally unhinged: he's more adventurous in this solo than he had been before, then he double- and even triple-times the entire band! He brings Bushnell's bass up the ever-narrowing stairs of the riff until they become a single player, all groove, grit, and grease. McGriff's cover of Aretha Franklin's "Think" keeps the exuberance level high. As the horns move right into the Memphis soul vamp, McGriff again plays the part of a vocalist: charging up and down the melody on his keyboards, popping in slippery side chords and harmonic flourishes. Tate's drums swing freely yet forcefully, and bass and guitar lines are simply nasty. The readings of Kenny Burrell's "Lock It Up" and Billy Strayhorn's "Take the 'A' Train" are the closest things to "straight" jazz here, though they're full of razored edges and hard angles. The reading of Neal Hefti's "Girl Talk" features the horns strolling leisurely on the melody and vamp, but McGriff goes into overdrive again and his solo hits the stratosphere. The Worm is a monster album through and through. Not only is it a revelatory example of McGriff on the wild, it marks one of the first places where the new funky urban soul met jazz and blues and evolved into jazz-funk.
© Thom Jurek /TiVo

Weitere Informationen

The Worm

Jimmy McGriff

launch qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS bereits heruntergeladen Öffnen

download qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS noch nicht heruntergeladen Downloaden Sie die Qobuz App

Kopieren Sie den folgenden Link, um das Album zu teilen

Sie hören derzeit Ausschnitte der Musik.

Hören Sie mehr als 60 Millionen Titel mit unseren Streaming-Abonnements

Hören Sie dieses Album und mehr als 60 Millionen weitere Titel im Rahmen Ihres Streaming-Abonnements mit unseren Apps.

1
The Worm
00:03:20

Malcolm Addey, Recording Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Jimmy McGriff, MainArtist - Fats Theus, Composer

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

2
Keep Loose
00:05:56

Malcolm Addey, Recording Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Jimmy McGriff, Composer, MainArtist

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

3
Heavy Weight
00:06:52

Malcolm Addey, Recording Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Jimmy McGriff, Composer, MainArtist

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

4
Think
00:03:16

Aretha Franklin, Composer - Ted White, Composer - Malcolm Addey, Recording Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Jimmy McGriff, MainArtist

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

5
Lock It Up
00:05:13

Malcolm Addey, Recording Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Kenny Burrell, Composer - Jimmy McGriff, MainArtist - W. Stephens, Composer

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

6
Girl Talk
00:04:31

Malcolm Addey, Recording Engineer, StudioPersonnel - Neal Hefti, ComposerLyricist - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Bobby Troup, ComposerLyricist - Jimmy McGriff, MainArtist

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

7
Blue Juice
00:04:59

Malcolm Addey, Recording Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Jimmy McGriff, Composer, MainArtist

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1969 Blue Note Records

8
Take The "A" Train
00:03:46

Malcolm Addey, Recording Engineer, StudioPersonnel - Billy Strayhorn, ComposerLyricist - Ron McMaster, Mastering Engineer, StudioPersonnel - Sonny Lester, Producer - Jimmy McGriff, MainArtist

Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 2002 Capitol Records, Inc. ℗ 1968 Blue Note Records

Albumbeschreibung

Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter. The saxophone section lays in the cut and is prodded on in a driving, funked-up, hard soul groove by the expanded rhythm section (a B-3 album with a bassist wasn't unheard of, but it wasn't standard procedure either). Solos by both McGriff and Mitchell are choppy and punchy in the extreme. The trumpeter is amazing here, offering a small taste of the sound he displayed on 1969's Collision in Black. But check out the next two tunes, both McGriff originals that push the LP into the red zone and keep it there. "Keep Loose" takes the organist head-to-head against Schwartz's electric six-string, and forces a showdown. McGriff is like an out-of-control soul singer (James Brown in a concert setting comes to mind), incessantly forcing his band to play faster, greasier, and choppier on chorus after chorus. He ups the intensity level until there is nowhere to go but over the ledge. He takes them there on "Heavyweight," the very next number, a swinging boppish blues. The horns actually keep the track grounded as McGriff gets terse, dense, and finally unhinged: he's more adventurous in this solo than he had been before, then he double- and even triple-times the entire band! He brings Bushnell's bass up the ever-narrowing stairs of the riff until they become a single player, all groove, grit, and grease. McGriff's cover of Aretha Franklin's "Think" keeps the exuberance level high. As the horns move right into the Memphis soul vamp, McGriff again plays the part of a vocalist: charging up and down the melody on his keyboards, popping in slippery side chords and harmonic flourishes. Tate's drums swing freely yet forcefully, and bass and guitar lines are simply nasty. The readings of Kenny Burrell's "Lock It Up" and Billy Strayhorn's "Take the 'A' Train" are the closest things to "straight" jazz here, though they're full of razored edges and hard angles. The reading of Neal Hefti's "Girl Talk" features the horns strolling leisurely on the melody and vamp, but McGriff goes into overdrive again and his solo hits the stratosphere. The Worm is a monster album through and through. Not only is it a revelatory example of McGriff on the wild, it marks one of the first places where the new funky urban soul met jazz and blues and evolved into jazz-funk.
© Thom Jurek /TiVo

Informationen zu dem Album

Verbessern Sie diese Seite

Qobuz logo Warum Musik bei Qobuz kaufen?

Aktuelle Sonderangebote...
Tickets To My Downfall Machine Gun Kelly
Tickets To My Downfall Machine Gun Kelly
Tickets To My Downfall Machine Gun Kelly
Tickets To My Downfall Machine Gun Kelly
Mehr auf Qobuz
Von Jimmy McGriff
Flapping Wings Jimmy McGriff
Electric Funk Jimmy McGriff
Christmas With McGriff Jimmy McGriff
Greatest Hits Jimmy McGriff
All About My Girl Jimmy McGriff

Playlists

Das könnte Ihnen auch gefallen...
Blues In Mono Seasick Steve
Blues Greats Various Artists
Panorama-Artikel...
Fleetwood Mac, die Blues-Jahre

Es gibt zwei Versionen von Fleetwood Mac, die der 1960er Jahre, in die Klangfarben des Blues gehüllt und von einem der größten Gitarristen seiner Generation - Peter Green - angeführt und die andere, eine Pop-Rock Band, die zu einer der gefragtesten Formationen ihrer Zeit gehört. “Rumours”, ihr Album von 1977, ist und bleibt, vierzig Jahre später, unter den Top Ten der meistverkauften Alben aller Zeiten. Über die Anfangsphase der Band spricht man weniger. Sie ist aber genauso faszinierend…

Die Pioniere des Rock'n'Roll der 50s

Der Rock'n'Roll ist nicht tot. Aber seine Pioniere, die heute noch leben, kann man an zwei Fingern einer Hand abzählen: Jerry Lee Lewis und Wanda Jackson. 84 und 82 Jahre alt. Er, ein ungestümer Hitzkopf aus dem Hause Sun Records, der Geschichte schrieb, indem er sein Instrument in Brand setzte und Gospel, Country und Boogie-Woogie in einen höllischen Rock'n'Roll verwandelte. Sie, eine Country-Sängerin, die an der Seite von Elvis ihr großes Rock'n'Roll-Abenteuer erlebte. Von Little Richard bis Chuck Berry, über Johnny Cash, Carl Perkins, Bo Diddley, Bill Haley, Elvis Presley, Gene Vincent, Eddie Cochran, Buddy Holly und Hank Williams – Qobuz würdigt die Wegbereiter des Rock.

Johnny Cash hinter Gittern

Es ist zwei Live-Alben zu verdanken, dass Johnny Cash seine Karriere Ende der 60er Jahre wieder aufleben lässt und zu einem wahren Superstar wird. Zwei Platten, die nicht sind wie die anderen, da sie im Gefängnis aufgenommen wurden. Aber wie hatte es den “Man in Black” in einen derart ungewöhnlichen Konzertsaal verschlagen?

Aktuelles...