The solid soulful team of Chris Foreman, Greg Rockingham and Bobby Broom together as The Deep Blue Organ Trio continue to explore the classic soul-jazz combo configuration of the Hammond B3 organ, guitar and drums. Their latest relase, a live recording called Goin' To Town, takes us to the Green Mill, where they created their sound & have been exciting crowds Tuesday nights for the last 3 years.
Green Bullfrog were a group that only existed on paper, and scarcely officially in that medium, either, because of all the hairs that had to be split (and names unnamed) in existing contracts to get their record made. Ritchie Blackmore, Tony Ashton, Big Jim Sullivan, Albert Lee, Chas Hodges, Matthew Fisher, and Ian Paice are just some of the luminaries who showed up for the super session, which was recorded in the first half of 1970 and issued on LP in America in 1971, a year earlier than it was in Europe. With the identities of the bandmembers effectively hidden behind pseudonyms, it's not entirely surprising that the album never rose beyond cult status on either side of the Atlantic. The whole project was the brainchild of producer Derek Lawrence, who roped these former members of his stable into doing him the favor.
Capitalism continues to degrade ecosystems and create social injustice. The 1992 Earth Summit demonstrated that the powerful vested interests behind Western capitalism have no intention of radically changing their goals and methods to help create an environmentally sound or socially just global society…
Previously unreleased recordings of guitarist Grant Green taped in December 1959 and February 1960 at the Holy Barbarian coffee house in St. Louis. Features saxophonist Bob Graf, organist Sam Lazar and drummer Chauncer Williams.
Soulful, spiritual work from guitarist Grant Green – an exploration of older tunes with a hip Blue Note 60s soul jazz approach! The album features Grant working in a quartet with Herbie Hancock, Billy Higgins, and Butch Warren – plus some added tambourine on a number of tracks – and the overall approach is extremely laidback and open, with Green soloing in a personal style that's a bit less frenetic than some of his other work of the period.