It's advantageous to get an early start on your chosen career, but Billy Preston took the concept to extremes. By age ten he was playing keyboards with gospel diva Mahalia Jackson, and two years later, in 1958, he was featured in Hollywood's film bio of W.C. Handy, St. Louis Blues, as young Handy himself. Preston was a prodigy on organ and piano, recording during the early '60s for Vee-Jay and touring with Little Richard. He was a loose-limbed regular on the mid-'60s ABC TV series Shindig, proving his talent as both a vocalist and pianist, and he built an enviable reputation as a session musician, even backing the Beatles on their Let It Be album. That impressive Beatles connection led to Preston's big break as a solo artist with his own Apple album, but it was his early-'70s soul smashes "Outa-Space" and the high-flying vocal "Will It Go Round in Circles" for A&M that put Preston on the permanent musical map. Sporting a humongous Afro and an omnipresent gap-toothed grin, Preston showed that his enduring gospel roots were never far removed from his joyous approach. He continued to perform and record throughout the '80s, '90s, and 2000s, until he fell into a coma caused by pericarditis late in 2005; sadly, he never regained consciousness and passed away on June 6, 2006.
Memphis guitarist Preston Shannon's debut as a bandleader, Break the Ice is a showcase not only for the singer/guitarist's considerable talents, but for his influences as well. Heavily influenced by the Kings, Albert and B.B., Shannon puts down a blazing version of the former's "Crosscut Saw," as well as covering two songs by Jimmy McCracklin (the songwriter who gave B.B. "The Thrill Is Gone"). Truly one of the strongest talents on the modern day Memphis blues scene, Shannon and his band do much to transcend their influences and add an original sound on the 12 songs collected here.
Memphis-based Beale Street regular Preston Shannon lays down a compelling blend of blues and soul on this outing. Recorded in Memphis and produced by Willie Mitchell, Shannon is backed by a crack staff of Memphis all-star session players, with bassist Leroy Hodges and songwriter session ace Thomas Bingham contributing mightily to the proceedings. Shannon has a rep as a people-pleasing live performer, so it's no surprise to hear him put his own spin to a club favorite like Prince's "Purple Rain," leaving the guitar pyrotechnics of the original on the back burner, investigating instead the soulful content of the song in a fine, stripped-down version.
One of Brahms' earliest musical jobs (besides playing piano in whorehouses) was directing a choral society. This introduced him to the music of the Renaissance and the Baroque, which sparked his antiquarian enthusiasms, in particular his first-hand encounters with the choral music of Bach. Choral music became an important part of Brahms' output – to his art, to his career (Ein deutsches Requiem propelled him to European notice), and to his income. Brahms may have directed much of his choral music to the then-lucrative amateur market, but he also produced plenty for crack choirs and without much reasonable hope for financial reward – again, Ein deutsches Requiem a good example. Like the Requiem, some of these works even became popular.
Latest in the dynasty of Beale Street monikered Bluesman is Preston Shannon, aka, The King Of Beale Street. Shannon is a journeyman Memphis Bluesman with Frankenstein chops. Dust My Broom is his sixth release, two of which were produced by the mythical Memphis sound collaborator, Willie Mitchell.
This production showcases the artist in two settings. Seven tracks are from studio sessions in Memphis. Five are live tracks produced for radio in Europe. In both settings the sheer artistry and power of Preston Shannon purely shines. Mr. Shannon’s solos are tasteful straight ahead urban blues with the right touch of country delta inspiration. Injected with spurts of classic R&B and even Pop influences, Dust My Broom is a great listening experience.
Much of Bach’s organ music was written during the earlier part of his career, culminating in the period he spent as court organist at Weimar. Among many well-known compositions we may single out the Dorian Toccata and Fugue in D minor, BWV 538, the Toccata, Adagio and Fugue, BWV 564, Fantasia and Fugue in G minor, BWV 542, Passacaglia and Fugue in C minor, BWV 582, Prelude and Fugue “St Anne”, BWV 552 (in which the fugue theme resembles the well-known English hymn of that name), Toccata and Fugue in D minor, BWV 565, and the Toccata and Fugue in F, BWV 540. Chorale preludes are compositions for organ that consist of short variations on simple hymn tunes for all seasons of the church year.