Showing posts with label Downtempo. Show all posts
Showing posts with label Downtempo. Show all posts

Friday, October 11, 2019

Billy Strange - Musical Themes & Soundtracks


One of the most successful session musicians of the 1960s, Billy Strange was a member of "The Wrecking Crew," the team of elite players who dominated the Los Angeles recording studios and worked on many of the biggest hits of the '60s and '70s. Strange co-wrote hits for Elvis Presley and Chubby Checker and arranged Nancy Sinatra's biggest hits in addition to lending his talents to recordings by the Beach Boys, Phil Spector, the Everly Brothers, and many more. Billy Strange was born in Long Beach, California on September 29, 1930. His parents, George and Billie Strange, were county & western musicians, and young Billy followed in their footsteps, performing with his folks on the radio and winning a yodeling contest at the age of 5. Strange took up the guitar when he was 14, and two years later he was playing with a local honky tonk band that set out for Texas in search of adventure and paying gigs. When Strange returned to California, he was a seasoned professional and was soon working with some of the biggest names on the West Coast C&W scene of the '50s, including Tennessee Ernie Ford, Roy Rogers, Spade Cooley, and Cliffie Stone. Strange also signed on as a guitarist and singer with CBS Radio in Hollywood, which led to more jobs in pop music as well as introducing him to the lucrative world of studio work. As a gifted guitarist who was as comfortable with pop and rock styles as country, Strange rose to the upper ranks of Los Angeles session players, working with many of the leading artists and producers of the day, and in addition to working on other people's recordings, he cut a series of instrumental albums for GNP Crescendo Records. 


In 1962, an instrumental number Strange wrote for the group the Champs was married to a lyric by Kal Mann and recorded by Chubby Checker, who scored a massive hit with "Limbo Rock." This kick-started Strange's career as a songwriter, and he was also recruited to work with Elvis Presley, playing guitar on many of his sessions, co-writing a few tunes for the King (including "A Little Less Conversation" and "Memories") and contributing to the soundtracks of several of his films. As the '60s wore on, Strange remained in demand as a session guitarist (he appeared on the Beach Boys' Pet Sounds and Love's Forever Changes), but he branched out as an arranger and bandleader, arranging the lion's share of Nancy Sinatra's hits (including "These Boots Are Made for Walkin'," "Bang Bang [He Shot Me Down]," and her duet with her father Frank, "Somethin' Stupid") and fronting her backing band for live performances. Strange also served as arranger for the early recordings by the TV-spawned group the Partridge Family, but in the early '70s he relocated to Nashville, Tennessee, where he helped run a publishing company for Nancy Sinatra and continued to write songs and record periodically. In the '80s, Strange briefly dipped his toes into acting, playing the great steel guitarist Speedy West (who Strange had worked with in his early days) in the movie Coal Miner's Daughter. By the time a remix of Presley's "A Little Less Conversation" took the song back to the charts in 2002, Strange was retired in Nashville, supporting himself through songwriting and performance royalties. After a brief illness, Strange died on February 22, 2012.




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More Billy Strange



Wednesday, May 8, 2019

Blue Break Beats - "You Gotta Hear Blue Note to Dig Def Jam"


An outstanding collection of soulful, downtempo jazz. This would be perfect music for setting the mood for going out during the weekend, dinner with friends, a Sunday afternoon - just about anything. It's a well-curated set that really flows together perfectly. There's not a dud track in the bunch. 

The idea of the collection was to draw peoples attention to the really excellent Blue Note tracks being sampled in the Hip Hop records everyone was listening to ('92).

Blue Break Beats, Vol. 1-4 contains Blue Note's four exceptional volumes of funky soul-jazz rarities and obscurities in one slip-cased box set. This box set may not appeal to listeners who already own all four discs, since there are no new liners or bonuses, but anyone who's about to invest in the set should consider this, since it offers all four at a savings. And if you get one, you'll probably want to get all four, so this is a good way to get 'em all at once.

The music on Blue Break Beats dates from the late '60s and early '70s, when a large portion of Blue Note's soul-jazz artists began experimenting with funk and rock, creating dense electric fusions that concentrated on rhythm, not improvisation. None of this music has ever received much critical praise from jazz purists, but in the late '80s and early '90s, scores of hip-hop and dance DJs discovered these old records and began sampling the original tracks to use in new rap and dance songs. By the early '90s, this jazz-rap-funk fusion had become hip and profitable, which led Blue Note to assemble the Blue Break Beats compilations. All of the tracks on the 4 albums are from late '60s and early '70s albums, featuring multi-layered percussion, organs, and guitars. Every song on the two discs -- which are sold separately -- is hot, with a deep funky groove, and there are no dull spots on the albums. Though it's designed to appeal to fans of contemporary funk and rap, fans of rock-influenced soul-jazz will find Blue Break Beats a necessary purchase.


Blue Break Beats Vol. 1


Blue Break Beats Vol. 2




Blue Break Beats Vol. 3


Blue Break Beats Vol. 4




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More Acid & Funk Jazz


Friday, April 5, 2019

Beat at Cinecittà - Soundtracks for Sexy Movies (Downtempo Jazz)


A Sensual Homage To The Most Raunchy, Erotic Film From The Vaults Of Italian 60's & 70's Cinema. Composers Featured Are Bruno Nicolai, Riz Ortolani, Roberto Pregadio, & More. A Must For Any Lounge/Cinema Music Fan.

The three albuns dedicated to the most raunchy, erotic beat film music from the vaults of Italian 60s & 70s cinema. Brass pasta sound for hot nights from some of the most acclaimed Italian composers of all time: Bruno Nicolai, Pierro Piccioni, Armando Trovajoli, Luis Bacalov, Riz Ortolani. CD comes with a 24-page booklet with numerous poster-reproductions and stills all 'dente as well as extensive liner notes.


A goofily irreverent (and, perhaps, irrelevant) collection of musical moments from the sleazier side of the Italian cinema. No sign of Ennio Morricone on this volume, but there is plenty of Piero Piccioni, who dominates the album with a mixture of lounge and off-kilter pop. Bruno Nicolai has a single cut, as does Luis Bacalov. The real highlight, though, is Armando Trovaioli's "Bada Caterina," with its delightful vocals by Carmen Villani. Meanwhile, the album design is, well, interesting -- especially the inlay pictures of European sexploitation film magazines. A cute series that is well worth seeking out.

Tuesday, November 6, 2018

The Mood Mosaic - Jazz & Funk Psychedelic Downtempo Soundtracks (Italy)



A magnific compilation series!!! Enjoy...

This compilation from Italy, the first in a long-running series, presents a collection of easy listening, jazz, and film soundtrack cuts that have a loungeish edge to them. Although it doesn't flow like a good compilation should, it offers up enough intriguing oddities to satisfy lounge cultists. Subtitled "The Hascisch Party," this disc divides its time between psychedelic instrumentals drenched in all sorts of trippy sonic effects and subtler, Latin-styled tracks with a jazz feel to them. In the psychedelic arena, the best moments include "Pygar's Persecution/The Black Queen's Beads," a rare cut by Bob Crewe from the Barbarella soundtrack that pits easy listening horn arrangements against some wild fuzz-guitar solos, and "En Melody," a Serge Gainsbourg instrumental built on a duel between slashing electric guitar leads and some funky, serpentine basslines. In the easy listening corner, the top picks are "Lamento," a breezy Nelson Riddle instrumental that layers breezy strings and light horns over a gentle Latin beat, and George Shearing's easy-jazz instrumental version of "Aquarius," which recreates the song's melody via jazzy piano and vibes against a thick backdrop of Brazilian-styled percussion. Unfortunately, the two extremes never really blend together and this makes for some abrupt shifts in tone that make Mood Mosaic: The Hascisch Party a difficult listening experience. There are also a few lesser cuts that could have been bypassed; the most annoying is Luis Enriquez's bizarre version of "Mas Que Nada," which veers back and forth between a straight rendition of the song and what sounds like drunken gibberish. Despite this problem, most of the cuts on this disc are entertaining and almost all of them are tough to come by. In the end, Mood Mosaic: The Hascisch Party is not an ideal pick for the lounge novice, but offers more than enough rarities to please the seasoned veteran.



The Mood Mosaic Collection Vol.1-14 (1997-2011)




























 















Originally posted at Periecos Brecho