Get Shorty

This gem of a disc shows Guitar Shorty (David Kearney) off on one of the highlights of his too-limited recorded efforts. He is one of the most flamboyant guitar players you will ever have the chance to see. His stage act was inspired by Guitar Slim, and he in turn inspired and influenced his stepbrother-in-law, a fellow by the name of Jimi Hendrix. This disc is filled with his searing blues guitar work. The only exception is the bouncy Mark "Kaz" Kasanoff tune "A Fool Who Wants to Stay," though Kasanoff is an associate producer of this disc (maybe that says enough). The rest will give you more than your fill of Shorty's inflammatory and slashing style of guitar licks, the very tight horn section arranged by Kasanoff augmenting him, and the solid musicians who are in the band that backs him…

Troy "Trombone Shorty" Andrews' third Verve album, Say That to Say This, might be the one he should have cut first. Backatown and For True - both produced by Galactic's Ben Ellman - were as steeped in rock and hip-hop as they were jazz and funk; they were actually very experimental records yet both charted and were well-received internationally. This date, co-produced with Raphael Saadiq, is a much more R&B-oriented recording - and proves a definite plus in a number of ways. Shorty's become much more disciplined, as revealed by this collection of groove-conscious soul and modern NOLA funk (and though it's more polished - having been recorded almost wholly in Hollywood - it is closer to what he does live). Things kick off with the title track, one of four instrumentals, led by Michael Ballard's whomping bassline…

More impressive than Shorty's British venture thanks to superior production values and a better handle on his past (there's a stellar remake of "Hard Life"), Topsy Turvy made it clear that Guitar Shorty was back to stay stateside. Black Top assembled a fine New Orleans combo for the majority of the album, as Shorty proved that his act translates beautifully to record minus the crowd-pleasing acrobatic antics. When he's not turning somersaults, doing backward flips, and standing on his head – all while playing, of course – Guitar Shorty is prone to cutting loose with savagely slashing licks on his instrument. Live, he's simply amazing – and after some lean years, his latter-day albums for Black Top, Evidence, and Alligator have proven that all that energy translates vividly onto tape.

Until he joined forces with British guitarist Otis Grand's band and waxed this very credible comeback set, David "Guitar Shorty" Kearney's legacy was largely limited to a solitary single for Cobra and a handful of great but legendarily obscure followups for Los Angeles-based Pull Records during the late '50s…..

Shorty Rogers - You Shorty, Me Tarzan! (1959) {MGM–Giant Steps GSCR032 rel 2010}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 284 Mb | MP3 @320 -> 129 Mb
Full Artwork @ 600 dpi (jpg) -> 40 Mb | 5% repair rar
© 1956-59, 2010 MGM / Giant Steps Records / Cherry Red Records | GSCR 032
Jazz / Cool / West Coast Jazz / Stage & Screen / Trumpet

Assembled is the rare percussive soundtrack to Tarzan the Ape Man that featured the likes of Bud Shank, Bob Cooper, Frank Rosolino and other famed West Coasters. Said Shorty: "At first, I was slightly apprehensive when MGM approached me to write and record the soundtrack for a Tarzan movie, but I needn't have concerned myself. They just said, make it exciting with plenty of drumming, and left me alone to get on with it. So I approached it as if I was really making a new Giants album, which is what it really was. I don't want to sound discourteous, but the album we made was much better that the actual movie". Also included is an equally rare 'live' appearance by the Big Band version of the Giants from an appearance on the TV show the Stars of Jazz.

William Kearney aka Guitar Shorty keeps it lean, mean and direct on this outing. Recorded in New Orleans, this session features his regular road band, abetted by Mark "Kaz" Kazanoff and some top N.O. players like Buckwheat Zydeco bassist Lee Allen Zeno. Shorty penned seven of the 12 tunes aboard, and the mix on this album runs from Texas shuffles ("Sugar Wugar," "I'm Going Back to Houston"), low down blues ("I Wonder Who's Sleeping in My Bed," "You're a Troublemaker," "Me and You Last Night") to New Orleans rock & roll ("I Want to Report a Crime," "Hard Time Woman," "The Porkchop Song" and the title track) and funk ("Don't Mess with My Woman," "Let's Get Close"), plus a heartfelt tribute to Hendrix on an extended workout on "Hey Joe." A wide and varied session that showcases the guitarist's wide-ranging chops and skills.

Mavis Rivers & Shorty Rogers - Mavis Meets Shorty (1962) {2014 Japan Jazz Best Collection 1000 Series WPCR-27933}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 208 Mb | MP3 @320 -> 71 Mb
Full Artwork @ 600 dpi (png) -> 119 Mb | 5% repair rar | 24-bit remaster
© 1962, 2014 Reprise / WEA / Warner Japan | WPCR-27933 | Jazz Best Collection 1000 Series
Jazz / Vocal Jazz / Cool / Trumpet

Features 24 bit remastering and comes with a mini-description. Mavis Rivers meets Shorty Rogers – and the result is a hell of a swinging session that may well be the greatest record ever from this overlooked vocalist! Shorty brings a groove into play right from the start – one that pushes Rivers past her sometimes-trilling style, and into a mode that's rock-solid and soulful all the way through – very much in the same spirit that Marty Paich or Oliver Nelson might bring to their own great arrangements for a singer.

Mavis Rivers meets Shorty Rogers - and the result is a hell of a swinging session that may well be the greatest record ever from this overlooked vocalist! Shorty brings a groove into play right from the start - one that pushes Rivers past her sometimes-trilling style, and into a mode that's rock-solid and soulful all the way through - very much in the same spirit that Marty Paich or Oliver Nelson might bring to their own great arrangements for a singer. Mavis has this way of keeping up with the groove while still being really expressive, especially in her vocal range - in that way that was the rising challenge of the 60s that only a handful of vocalists could do this well - very hip, mod, and adult.