Download Son Seals mp3

Artist: Son Seals: mp3 download    Genre(s):  Blues     Discography:      Lettin' Go    Year: 2000    Tracks: 14      Spontaneous Combustion    Year: 1996    Tracks: 12      Midnight Son    Year: 1990    Tracks: 9      Living in the Danger Zone    Year: 1989    Tracks: 11 It all started with a effectual call from Wesley Race, world Health Organization was at the Flamingo Club on Chicago's South Side, to Alligator Records proprietor Bruce Iglauer. Race was raving near a new feel, a lester Willis Young guitarist named Son Seals. He held the sound in the instruction of the bandstand, so Iglauer could get an on-site newspaper. It didn't take farsighted for Iglauer to scramble into action at jurisprudence. Alligator issued Seals' eponymous debut album in 1973, which was followed by sestet more. Son Seals was born Frank Seals on August 13, 1942 in Osceola, Arkansas. His pop operated a juke joint called the Dipsy Doodle Club in Osceola where Sonny Boy Williamson, Robert Nighthawk, and Albert King cavorted upfront while little Frank listened intently in back. Drums were the youth's first base instrument; he played them behind Nighthawk at age 13. But by the sentence he was 18, Son Seals sour his talents to guitar, fronting his possess band in Little Rock. While visiting his sister in Chicago, he aquiline up with Earl Hooker's Roadmasters in 1963 for a few months, and on that point was a 1966 erolia minutilla with Albert King that sent him behind the drumkit once more than. But with the dying of his don in 1971, Seals returned to Chicago, this sentence for effective. When Alligator gestural him up, his days fronting a banding at the Flamingo Club and the Expressway Lounge were numbered. Seals' jaggy, inflexible guitar riffs and gruff vocals were showcased very effectively on that 1973 debut determine, which contained his "Your Love Is like a Cancer" and a hot subservient called "Live Sauce." Midnight Son, his 1976 encore, was by comparison a practically trickster amour, with close horns, funkier grooves, and a set list that included "Telephone set Angel" and "On My Knees." Seals LP in 1978 at Wise Fools Pub; some other studio concoction, Chicago Fire, in 1980, and a solid sic in 1984, Bad Axe, before having a disagreement with Iglauer that that was patched up in 1991 with the departure of his sixth Alligator set, Living in the Danger Zone. Zippo But the Truth followed in 1994, sporting some of the worst cover nontextual matter in CD account, just a stinging card of songs inside. Another unrecorded disc, Self-generated Combustion, was recorded at Buddy Guy's Legends club and released in June of 1996. Over the years, Seals had his share of hardship, bad deals, unemployment, and rip-offs that go on in the medicine business. However, his personal life took 2 crushing blows in the late '90s. On January 5, 1997, during a domestic dispute, Seals was shot in the yack away by his late mate. He miraculously recovered and continued touring. Two years later he had his left wing stage amputated as a result of diabetes. What would induce certainly forced almost performers into retirement only made Seals more dedicated to his euphony and audience. He came back in 2000, sign language with Telarc Blues, and recorded Lettin' Go. Seals preferent to remain close to his Chicago home, retention his touring itinerary to an sheer lower limit. Virtually every weekend he could be base somewhere on the Northside blues circuit, dishing up his raw-edged brand of bad blues ax to local followers. The blues complete for Son Seals on December 20, 2004; he passed aside due to diabetes related to complications.

Mp3 music: Tommy Roe

Horace Silver

   
Artist: Horace Silver

   Genre(s): 
Jazz
   

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Discography:


   
 A Night at Birdland, Vol. 2

   Year: 1954   
Tracks: 7


   
 A Night at Birdland, Vol. 1

   Year: 1954   
Tracks: 8

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From the perspective of the former 2000s, it is clear that few jazz musicians own had a greater wallop on the modern-day mainstream than Horace Silver. The looker boP style that Silver pioneered in the '50s is immediately dominant, played not only by holdovers from an to begin with generation, only as well by fuzzy-cheeked musicians world Health Organization had even so to be born when the music fell out of critical favour in the '60s and '70s.


Silver's earlier musical influence was the Cape Verdean ethnic music music he heard from his Portuguese-born don. Later, after he had begun playing forte-piano and sax as a high schooler, Silver came under the spell of blues singers and boogie pianists, as well as boppers like Thelonious Monk and Bud Powell. In 1950, Stan Getz played a concert in Hartford, CT, with a pickup rhythm section that included Silver, drummer Walter Bolden, and bassist Joe Calloway. So impressed was Getz, he hired the whole three. Silver had been deliverance his money to move to New York in any event; his hiring by Getz sealed the deal.


Silver worked with Getz for a year, so began to freelance just about the metropolis with such big time players as Coleman Hawkins, Lester Young, and Oscar Pettiford. In 1952, he recorded with Lou Donaldson for the Blue Note mark; this date light-emitting diode him to his first recordings as a leader. In 1953, he united forces with Art Blakey to form a conjunct under their joint leadership. The band's first-class honours degree album, Horace Silver and the Jazz Messengers, was a milepost in the development of the genre that came to be known as hard federal Bureau of Prisons. Many of the tunes penned by Silver for that record -- "The Preacher," "Doodlin'," "Room 608" -- became idle words classics. By 1956, Silver had left wing the Messengers to record on his own. The series of Blue Note albums that followed established Silver for all time as one of jazz's major composer/pianists. LPs like Blowin' the Blues Away and Song for My Father (both recorded by an ensemble that included Silver's longtime sidemen Blue Mitchell and Junior Cook) featured Silver's harmonically sophisticated and formally distinctive compositions for small jazz supporting players.


Silver's forte-piano trend -- laconic, imaginative, and dead foul-smelling -- became a theoretical account for subsequent mainstream pianists to emulate. Some of the most influential horn players of the '50s, '60s, and '70s first attained a metre of excrescence with Silver -- musicians like Donald Byrd, Woody Shaw, Joe Henderson, Benny Golson, and the Brecker Brothers all played in Silver's stripe at a point early in their careers. Silver has regular affected members of the van; Cecil Taylor confesses a Silver influence, and trumpeter Dave Douglas played in brief in a Silver combo.


Silver recorded solely for Blue Note until that label's eclipse in the late '70s, whereupon he started his own label, Silveto. Silver's '80s turn was unwell distributed. During that time he began authorship lyrics to his compositions; his work began to display a worry with music's metaphysical powers, as exemplified by record album titles like Music to Ease Your Disease and Spiritualizing the Senses. In the '90s, Silver deserted his label venture and began recording for Columbia. With his re-emergence on a major label, Silver is once once again receiving a bill of the attention his contribution deserves. Certainly, no one has of all time contributed a bigger and more vital body of original compositions to the jazz canon.