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post #34336 of 53912

post #34337 of 53912

"Kindness Of The World" - Joe Henry

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The C-Nuts

THE C-NUTS:
Blitzkreig Bop and Other Jazz Mutations

I keep hearing the same thing about this CD: “I didn’t know what to think the first time I played the C-Nuts. Now it’s one of my favorites CDs.” These guys play traditional jazz versions of rock hits they grew up with—Dire Straits, The Pretenders, Joe Jackson, Peter Gabriel, all that. Every song is so transformed you’ll think you’re hearing it for the first time. Up front, Patrick’s powerful vocals blend Joe Cocker and Louis Prima. Behind him, four top-notch jazz guys stoke the fire. Recorded with see-his-tonsils clarity—the drums, bass and congas punch through with kickass dynamics. Clarinet and sax have that two-feet-away, wailing, live edge. Be sure to check out the band’s MP3s on our website. This is one not to miss! (#07752)

For more info on the C-Nuts, go to
http://www.wescrawford.com/mythology.html

The C-Nuts:
Pat Stacey, vocals
Steve Sachse, bass
Wes Crawford, drums/percussion
Jon Ozment, piano/organ
Scott Young, soprano & alto sax/clarinet/flute
with guests:
Derek Willie, organ (4)
Steve Bloom, congas (7)
Ariel Francis, banjo (3)

 

 

TRACK LISTING:

1.
Middle of the Road (C. Hynde)
2.
Sultans Of Swing (M. Knopfler) - listen to full song
3.
Jimmy Jazz (J. Strummer/M. Jones) - listen to sample
4.
Every Day I Write The Book (E. Costello)
5.
Murder By Numbers (Sting and A. Summers)
6.
Shock the Monkey (P. Gabriel)
7.
Hyperactive (T. Dolby)
8.
I Don't Like Mondays (B. Geldof) - listen to sample
9.
Tainted Love (E. Cobb)
10.
Cars (G. Numan)
11.
Is She Really Going Out With Him (J. Jackson)
12.
Blitzkreig Bop (J.Hyman/J.Cummings/D.Colvin/T. Erdelyi)

 

REVIEWS:

Cadence:
reviewed by Richard B. Kamins

Some of you may remember Saturday Night Live’s Bill Murray and his lounge singer sketch, where he would be performing in a ski lodge or at a college reunion. Along with a Jazzy pianist, Murray would take pop songs and skewer them in a smarmy fashion.

 

On my initial listening to Blitzkrieg Bop, I had a sense memory of the Murray act. However tongue-in-cheek this approach may be, The C-Nuts really manage to pull it off with aplomb. The quintet’s take on Dire Strait’s “Sultans of Swing” uses the open feel of composer Mark Knopfler’s version and makes it Jazzy. Pat Stacey’s vocals remind me a bit of Buddy Miles (drummer-vocalist with The Electric Flag and Jimi Hendrix).

There are lots of soul mannerisms that come to the forefront on Elvis Costello’s “Every Day I Write The Book” – the hoarse vocal style, the bending of syllables, and more. Sting’s “Murder By Numbers” has a dramatic opening then drops into a boppish swing piece. I like the stark, cool-Jazz approach to “Shock The Monkey” though it loses some of the tension inherent in composer Peter Gabriel’s version. The tune features strong piano work from Jon Ozmont and smart rhythm section play.

 

Other highlights include The Clash’s “Jimmy Jazz” which gets a clever New Orleans-tinged arrangement. Gary Numan’s “Cars” sounds like a McCoy Tyner piece and includes strong soprano work from Scott Young. The title track, from the repertoire of The Ramones, lives up to its name and swings like mad. It totally loses any of its punk-rock associations but still has some power.

...Stacey’s blues-drenched vocals are a plus and the band plays quite well. At times, it really does sound like a put-on. Have some fun with the rock purists in the crowd and give them a taste of the C-Nuts.

November 2001

mapleshade_line.jpg

Car Audio:
reviewed by Benjamin Oh

These guys tread a musical line between the ludicrous and lovely, and come off like circus acrobats whose performances justify the risks. Although perhaps they went a little too far with their jazzed up version of “Shock The Monkey.” Shock indeed. Actually it works – after a second listen. As does their take on Gary Numan’s, “Cars,” surprisingly enough. Aside from a couple of exceptions, (the) C-Nuts improve on the Top 40 hits, adding sophistication, accentuating emotional nuances, and making things swing when needed.

These transformed covers have depth, convey joy and are fun to listen to – that can’t be said for all of the original versions. In the end, the success of this CD, why the material works can be attributed to the fine musicianship from top to bottom. And while the premise of “Blitzkrieg Bop” is about turning pop into jazz, the fact that the C-Nuts are doing popular tunes seems like an after-thought. Also adding to the enjoyment is the way this CD was recorded. It’s a pure unadulterated approach to recording that makes it possible for the listener to feel like he’s actually in the room as the musicians jam.

August 2001

mapleshade_line.jpg

All About Jazz:
reviewed by Dave Nathan

Mapleshade Records created the offshoot Wildchild! Label to record fun stuff from the R&B, soul, rock and country musical genre. Fine. But that's not what's happening with this C-Nuts release -- a play on the name of the popular Squirrel Nut Zippers band? True, one can hear some R&B, especially when Jon Ozment or Derek Wille turns on the organ. But the charts are closer to post bop, with the emphasis on swing.

 

Listen to the aptly named “Sultans of Swing” a medium tempo piece carried off by Pat Stacey's vocals and Scott Young's John Coltrane influenced sax. Not bad for a jump band. Also, while I'm sure it wasn't the intent, “Cars” with Ozment's modern sounding piano and Young's eastern snake charmer sounding soprano saxophone playing off each other's center rhythms, comes close to avant garde.

 

What these young men have done is taken pieces written by the likes of UK composer and artist Joe Jackson and rockers like Sting and Peter Gabriel and other contemporary composers and wrapped their works in a jazzy cover making what comes out sound better than the original.

 

“Jimmy Jazz” has elements of traditional jazz again lead by Stacey's Dr. John like vocalizing and Young's dazzling clarinet licks. “Blitzkrieg Bop” comes straight from the bopsters of the Charlie Parker/Dizzy Gillespie era with some tough walking bass by Steve Sachse. There's even a Latin piece combined with R&B with “Hyperactive”.

 

The album is broader in scope than the liner notes would have one believe and it's a lot fun. Recommended.

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There is also a remaster of this out!

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Siedah Garrett - Kiss of Life (1990)

 

MI0002027905.jpg?partner=allrovi.com

post #34341 of 53912

700

 

Listening to "Good Morning Girl" at the moment :)

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700

post #34343 of 53912
Godspeed You! Black Emperor: F# A# ∞



A truly special work. Easy to get too much of it though.
post #34344 of 53912

1000

I got out the old HD280 Pro today, which I used to use for monitoring before a slew of others including the ATH-M50 and my most recent, the KNS8400. I never thought that I'd enjoy using them for casual listening, but these Senns are sure working well with the recording process used on Britain's famous four-piece.

post #34345 of 53912
Quote:
Originally Posted by Hi-Finthen View Post

The C-Nuts

THE C-NUTS:
Blitzkreig Bop and Other Jazz Mutations

 

 

Just got my copy in today, have made it as far as "Jimmy Jazz" for the second time around, fantastic! I can't wait to play it on my show, highly recommended!

 

I love these cross-genre tributes, kind of reminds me of A Taste of Marley by Ritenour & Co.

beerchug.gif


Edited by grokit - 7/27/12 at 5:52pm
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Friday Night Program: Jazz On The Latin Side...

 

logoKKJZCSULB.gif

 

 

Address: http://www.jazzandblues.org/index.aspx


Edited by Silent One - 7/27/12 at 9:08pm
post #34347 of 53912

Tom Petty and the Heartbreakers: "Playback" (1995)

 

Tom-Petty-Playback-138969.jpg

post #34348 of 53912

"all we are saying" - Bill Frisell

post #34349 of 53912
Quote:
Originally Posted by grokit View Post

 

Just got my copy in today, have made it as far as "Jimmy Jazz" for the second time around, fantastic! I can't wait to play it on my show, highly recommended!

 

I love these cross-genre tributes, kind of reminds me of A Taste of Marley by Ritenour & Co.

beerchug.gif

 

Certainly deserves and needs several listenings type of recording, as well as an appreciation for the tone of the actual acoustic intruments being artfully played minimalisticly ; with lots of blackness / air between notes and air/seperation between instruments with realistic dynamics owning to Spreys recording and production techniques , meaning only a very few (dare I say, "we" audiophiles, perhaps) could fully appreciate this recorded performance . But, thru my HP set up and its headstaging chareteristics I easily find myself lost in the music being fully immersed and entertained, hearing these arrangements ;')

 

Did you read from the enclosed link from the Crawford website: "The History of The Club Nuts" , very ehr, creative ;') - Enjoy !

 

 

Bad Influence

 
BAD INFLUENCE:
Live at the Bad Habits Cafe

Stereophile says “…a recording to die for…R&B and early rock, but with a totally modern sensibility…one hell of a performance.” These guys take a gritty approach to that magic moment when the blues turned into rock ’n‘ roll. Whop Frazier sings Motown-steeped, bluesy vocals on classics from Wilson Pickett, Buddy Guy, Jimmy Reed. A vividly raw blues/rock quartet with wailing electric guitar and raunchy tenor sax raise hell behind him. Bound For Sound calls it “…a howling good time…Recording of Merit.(#03152)

Whop Frazier, vocals/electric bass
Michael "Junior" Tash, electric guitar
Jay Corder, tenor sax
Dennis Hash, drums

 

 

TRACK LISTING:

1.
WOKE UP THIS MORNING (B.B.King) - Listen to Full Song
2.
NO PARTICULAR PLACE TO GO (C.Berry) - Listen to Sample
3.
ALBERTA (D.Small) - Listen to Sample
4.
MUSTANG SALLY (M.Rice)
5.
SOME KIND OF WONDERFUL (Pomus/Shuman)
6.
'TAIN'T NOBODY'S BUSINESS IF I DO (P.Grainger/O.Spann)
7.
SWEET HOME CHICAGO (R.Johnson)
8.
BRIGHT LIGHTS, BIG CITY (J.Reed)
9.
MY BAB'S A SUPERSTAR (B.Guy)
10.
HOW BLUE CAN YOU GET (J.Feather)
11.
ROCK ME BABY (King/Kosea)
12.
NIGHT LIFE (W.Nelson)
13.
WHY I SING THE BLUES (B.B.King)
post #34350 of 53912


 

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