Swing Fling

Sammy Rimington - At Moose Lodge Hall (1989) {Big Easy Records BIG CD-001}
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© 1989 Big Easy Records | BIG CD-001
Jazz / New Orleans Revival Jazz / Clarinet / Alto Saxophone

British reedman Sammy Rimington was one of the top trad musicians to emerge during the 1960s. He played with Barry Martyn in 1959, spent several years with Ken Colyer (1960-1965), and came to the U.S. in the mid-'60s, playing with Big Bill Bissonnette's Easy Rider Jazz Band. Since that time, Rimington has been heard in a countless number of settings and, other than a brief fling with a fusion band he led (Armanda in 1971), he has stuck exclusively to New Orleans revival jazz.

David Murray - The Complete Remastered Recordings On Black Saint & Soul Note, Vol. 2 (2013) {7CD BoxSet CAM Jazz rec 1979-1993}
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© 1979-93, 2013 CAM Jazz / Black Saint / Soul Note | BXS 1024
Jazz / Avant-Garde Jazz / Modern Creative / Saxophone / Bass Clarinet

Murray's first box set in this series was one of Black Saint/Soul Note's better reissues. And this second volume is it's equal, and in some instances possibly better. The seven albums here span the years 1979 to 1993, and show Murray in different playing styles, but always close to the top of his skills. If you've read this far you're probably familiar with Murray's music, so I'll be brief in my album notes.

South of the Border is an album by the David Murray Big Band released on the Japanese DIW label. Recorded in 1992 and released in 1995 the album features performances by Murray, Rasul Siddik, James Zoller, Hugh Ragin, Craig Harris, Frank Lacy, Al Patterson, Vincent Chancey, Kalil Henry, John Purcell, Patience Higgins, Don Byron, Sonelius Smith, Fred Hopkins, Tani Tabbal, and Larry McDonald, conducted by Lawrence "Butch" Morris.

Les Paul had such a staggeringly huge influence over the way American popular music sounds today that many tend to overlook his significant impact upon the jazz world. Before his attention was diverted toward recording multi-layered hits for the pop market, he made his name as a brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians.

Jimmy Lytell - The Complete Pathé Recordings 1926-28 (2012) {Jazz Oracle BDW8069}
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© 1926-28, 2012 Pathé / Jazz Oracle | BDW8069
Jazz / Early Jazz / Hot Jazz / Clarinet

The complete solo clarinet recordings of Jimmy Lytell, recorded between 1926 and 1928 for Pathé. Lytell, primarily a studio musician and a mainstay of the Original Memphis Five during the 1920s, is revealed here to be a fine soloist in his own right. This compilation contains all known takes of these recordings, which also feature such luminaries as Eddie Lang, Dick McDonough, Frank Signorelli and Rube Bloom. The fully-illustrated booklet includes notes by collector Phil Melick, and audio restoration is by Karl Machat.

Swedish singer Emily McEwan's third album. An intimate recording of her favourite jazz standards with Jonas Östholm on the piano and Josef Kallerdahl on the bass. Emily McEwan is first and foremost a singer. As a songwriter she has released 2 albums with the project, Emily McEwan Highland Fling. Her own music is a mix of celtic folk music, jazz and pop. She is often asked to guest appear on albums and live gigs with artists such as Rasmus Faber and Mathias Algotsson. Emily McEwan Fornhammar is a swedish/scottish singer/songwriter living in Stockholm. With two albums released with her own music as well as appearing on several…

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.