Today's Soul Jazz Playlist

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Da Girl -- CD

Bill Heid

2003 Savant Records

Organist Bill Heid has been around since the 1970s, but, although the sound he gets on his instrument hints at Jimmy Smith, he manages to largely escape that potentially dominant influence by coming up with fresh ideas, even when he plays a blues. His music swings, but sounds fairly individual. Heid is strongly assisted by the solo work of tenor saxophonist Scott Peterson and trumpeter Randy Magnarelli, with drummer Randy Gelespie and occasionally one of two percussionists giving stimulating support. Overall, this is a romping and spirited soul-jazz date from an organist who deserves to be much better known. ~ Scott Yanow

Track Listing
1. Soldiering On
2. Da Girl
3. Peach Cobbler
4. Sneaky Waltz
5. Blues For Margie
6. Good Clean Fun
7. Spirit of Newark
8. Eatin' and Boppin'

Personnel: Bill Heid (organ); Scott "E Dog" Petersen (tenor saxophone); Joe Magnarelli (trumpet, flugelhorn); Randy Gilespie (drums); George Jones (congas); George Heid (percussion).Recorded at D.O.D. Studios, Detroit, Michican on September 2, 2000
 
Checking out a newly, and functionally only, restored Pioneer PL-630 Hangar Queen, I decided to enjoy one of my favorite live recordings, Earth, Wind, and Fire, "Gratitude."

This double-album set is their very best, in my opinion, and definitely one of my favorite album sets. There is smooth soul and serious funk, and...

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This stuff represents some of the absolute best from the time period around 1975. Try it. You will definitely like it.

Enjoy,
Rich P
 
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RICHARD 'GROOVE' HOLMES "Get Up & Get It!" LP Prestige (PR-7514)
AllMusic Review by Stewart Mason
The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy.


 
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