#cornell dupree

[newsfromsomewhere]

Cover image from the 1974 album 'Teasin' by guitarist Cornell Dupree - prolific session player and along with Chuck Rainey and Bernard Purdie, a member of Aretha Franklin's backing band.

[plus-low-overthrow]

Stuff - Stuff It (Warner Bros.)

Stuff were somewhat of a Super Group from the mid to late seventies with this 1979 LP having been co-produced by bassist Gordon Edwards and also Stax guitarist, Steve Cropper. Talent roster; Gordon Edwards, Cornell Dupree, Steve Gadd, Eric Gale, Richard Tee, Al Brown amongst the many names. This band were new to me and hopefully I'll get round to acquiring some of their earlier recordings.

[rainingmusic]

Carly Simon - You Belong to Me

[favemusiclessons]

Chordplay - The Chords Of Cornell Dupree

This lesson focuses on a number of classic rhythm-based parts pulled from Cornell's lengthy history as a session ace, and his nickname of "Mr. 2500" was rightfully earned, as he historically logged over 2,500 studio sessions in his lifetime. The selection of music we're hitting here includes music from Cornell's classic solo album Teasin' along with his side-project "supergroup" Stuff, not to mention a few examples of his session work with Rufus Thomas and Hank Crawford back in the day. This includes sections of the songs It's A Funky Thing To Do, Ditch Digging, Help Me Make It Through The Night, Feel All Right, Foots, Blue Nocturne, and Teasin' - to name a few!

[mychameleondays]

Sam Cooke: Live At The Harlem Square Club

RCA Victor/ABCKO/Legacy/Music On Vinyl MOVLP071/88697686251, 2010

Originally released: 1985

[snappyssongbook]

A Year Of Songs #10 - “But It Comes Out Mad” by Camille Yarbrough

A stinging reminder that the have-nots been getting by on scraps in the richest country in human history since way back. American inequality - economic, racial, gender, opportunity, and so on - is the driving force here that busts up even love and desire. 

Most folks familiar with Camille Yarbrough know her as the sampled core of Fatboy Slim’s 1999 hit “Praise You.�� That track, “Take Yo’ Praise,” appears on 1975’s The Iron Pot Licker, a fierce, honest, so funky you can smell it song cycle that reconfigures Yarbrough’s early 70s one woman, spoken word theatre production into a feminine examination of the same terrain Gil Scott-Heron and Brian Jackson were creating in the same era. 

“But It Comes Out Mad” slowly unfolds with the restrained power and palpable groove of Bill Withers’ best, Yarbrough sketching the broken heart inside of economically beat down Black America in a voice equal parts soul cry, lustful observer, and unflinching truthsayer. Guitarist Cornell Dupree is at his saucy best here, judiciously serving up licks, a constant sparring partner for Linda Twine’s roiling, mad colorful Clavinet. 

Yarbrough reminds us that protest music need not be “If I Had A Hammer” to hit hard and muthafunkin’ true. 

[1264doghouse]

Atlantic Records shows how to do a record release party with King Curtis, Cornell Dupree, Esther Phillips & Jimi Hendrix.

[0rph3u5]

King Curtis & Champion Jack Dupree 1971  Poor Boy Blues 

From King Curtis & Champion Jack Dupree Live from Montreux June 17th 1971 with Cornell Dupree on guitar, Jerry Jemmott on bass and Oliver Jackson on drums. Filmed two months before King Curtis' tragic death.

[doedipus]

the period from thanks to news is jazz season. I'm going to make you listen to jazz fusion albums I like.

this one has a cool owl on the cover

I also don't like how a lot of these albums just have the composer's name and not any of the rest of the musicians on the project, so I'm gonna stick the full credits from rateyourmusic under a read more

深町純 [Jun Fukamachi] keyboards, arranger, producer, composer

Hidenori Taga executive producer

Katsuya Yasumuro assistant producer

Isao Sakai cover design

Masashi Takamura photography

Kevin Hargerty photography

Richard Tee piano

Gordon Edwards bass

Tony Levin bass

Anthony Jackson bass

Steve Gadd drums

Chris Parker drums

Howard King drums

村上"PONTA"秀一 [Shuichi "PONTA" Murakami] drums

'Crusher' Bennett percussion

Eric Gale guitar

Cornell Dupree guitar

Steve Khan guitar

Barry Finnerty guitar

Ernie Watts tenor saxophone

Richard Wagner composer

Lou Marini tenor saxophone

Barry Rogers trombone

Randy Brecker trumpet

[omegaremix]

Omega Radio for June 6, 2022; #309.

Otis Redding & Carla Thomas: “Tramp”

Music Machine: “Dull Knife”

Kurtis Scott Inc.: “Black Child”

Andre & Zero Plus: “Sparkle In A Woman’s Eye”

Dave Gold: “Roadhog”

Houston Person: “Pretty Please”

Azar Lawrence: “People Moving”

Cornell Dupree: “Hey Girl”

John Betsch Society: “Song For An Untitled Lady”

Heavy Joker: “Rainy Day”

Alphonze Mouzon: “Before You Leave”

Tom Elliot: “Image Maker”

First one-hour Monday bonus Summer broadcast; sampling and crate-digging.

[plus-low-overthrow]

ARTWORK LP: Van McCoy and his Magical Movie Machine (Hugo & Luigi)

This LP contains three Medley's across both sides with a common call out in the intro to each, "Disco Movies...", side Two for example contains a single medley mashing up; Theme from Shaft, Doctor Zhivago and the Magnificent Seven, though perhaps not prolifically nor to my taste, the potential for looping and extending sections has kind of been orchestrated for you.

arr. Van McCoy, 1977. Other musicians include Richard Tee, Cornell Dupree, Phil Bodner, Urbie Green, Gene Orloff and vocalist Zulema with female soul trio, Faith, Hope & Charity.

Cover Art by Jim O'Connell.

[ausetkmt]

Les McCann was already an established solo artist — a blues-forward jazz pianist in his 30s, with more than two dozen albums to his name — when he had a career-defining moment at the 1969 Montreux Jazz Festival. There, during an impromptu jam with the saxophonist Eddie Harris, he dug into a new song by his friend Gene McDaniels, which struck a cultural nerve.

The song was "Compared to What," an anguished yawp of disillusionment that Roberta Flack had recorded several months earlier for her debut album, First Take. McCann begins his version with a rollicking vamp, which he takes through a handful of escalating key modulations before a startling entry on vocals, two minutes in. With a soulful holler, he brings plainspoken fire to lyrics that skewer rampant greed, religious hypocrisy and the quagmire in Vietnam: "The president, he's got his war," McCann sings in the third verse. "Folks don't know just what it's for."

The song's temperament, outraged and despairing, captured something crucial about the era; so too did its rhythmic drive and righteous, consuming fervor. When Atlantic Records released "Compared to What" as a single, it spent four weeks on the Billboard Hot 100; Swiss Movement, the live album on which it appears, held a spot on the Billboard 200 for 38 weeks. The song remained a calling card for McCann for the rest of his musical career, which yielded many more successful albums — including a sequel with Harris, Second Movement, in 1971 — as well as samples by hip-hop artists like Massive Attack, Mobb Deep and The Notorious B.I.G.

McCann died on Dec. 29, 2023, at a hospital in Los Angeles, at 88, of pneumonia. Alan Abrahams, a veteran producer and record executive who served as his manager, confirmed his death, noting that McCann had lived at a nursing facility for the last four years.

With a ringing, percussive piano style and a rousing command of the beat, McCann always amounted to more than one breakout hit could encapsulate. The grit and grease in his playing, informed by his early experience in the gospel church, helped establish the subgenre known as soul jazz. That sound is already fully present on an album he recorded live in 1961, Les McCann Ltd. Plays the Shampoo at The Village Gate. (Along with "The Shampoo," an early hit, it includes McCann originals titled "Someone Stole My Chitlins" and "Filet of Soul.")

The urge to move his audiences extended to a new sonic palette when McCann embraced electric pianos and synthesizers — notably on the 1972 album Invitation to Openness, which features Yusef Lateef on assorted reeds and flutes, and Cornell Dupree on electric guitar. His subsequent albums with Atlantic, often incorporating synths and clavinet, formed the basis for his popularity as a sample source for hip-hop producers.

Leslie Coleman McCann was born on Sept. 23, 1935, in Lexington, Ky. His father, James, worked at the Lexington Water Company; his mother, Anna, was a homemaker who took occasional housekeeping jobs. He was one of six children, with four brothers and a sister. "​​Everybody was in a position of doing the best they could with whatever," he recalled in a 2015 interview with Red Bull Music Academy. "We never thought of ourselves as being poor."

Still, McCann grew up with limited resources, and was almost entirely self-taught as a pianist. He played sousaphone and drums in his high school marching band, and enlisted in the U.S. Navy at age 17. He often told a story about hearing Erroll Garner's recording of "Lullaby of Birdland" during his service, and having the sudden realization that the piano was his calling. But while stationed in the San Francisco Bay Area, he won a talent contest as a vocalist — an accolade that landed him an appearance on The Ed Sullivan Show in 1956.

After his discharge, he formed a piano trio, which found work backing Gene McDaniels at the Purple Onion jazz club in San Francisco. McDaniels took the trio on tour, after which McCann moved to Los Angeles, working at clubs like the Hillcrest and signing to the Pacific Jazz label. The band that he called Les McCann Ltd. recorded a string of surefooted albums, and also played on the debut album by the jazz-R&B singer Lou Rawls, in 1962.

McCann eventually left the Pacific Jazz roster for Limelight, a Mercury subsidiary overseen by Quincy Jones, before landing at Atlantic Records. There his partnership with the producer Joel Dorn yielded a number of successes, starting with the 1969 album Much Les. Featuring McCann's electric piano against a complement of strings, the album also spotlighted his vocals, notably on a ballad called "With These Hands," which became a hit.

Here and throughout his career, McCann faced enduring critiques of his piano playing, which lacked the outward sophistication and technical precision of some of his peers, especially those who'd mastered the lingua franca of bebop. "I think what Les did musically, for most of his career, was really brave," attests Joe Alterman, a pianist who regarded McCann as a mentor, and released an album in tribute last year. "He wasn't a bebop player. He appreciated it, but he really loved these joyful piano players. So I think Les was kind of going against the grain."

McCann's most recent release, just out on Resonance Records, bolsters the point. Titled Never a Dull Moment! Live From Coast to Coast 1966-67, it features a few effervescent trio dates from the same era, at the Penthouse in Seattle (1966) and the Village Vanguard in New York (1967). There are, in fact, some bebop tunes, like Dizzy Gillespie's "Blue 'n' Boogie," in the set list. But the spirit of the playing has little room for bebop's idiomatic concerns. It adheres instead to a characterization of McCann from Bob Porter's 2016 book Soul Jazz: Jazz in the Black Community, 1945-1975, as "a pianist of enormously contagious enthusiasm."

McCann was certainly that, and more besides. He had a good ear for talent: He was the one who brought Roberta Flack to Atlantic, and he is credited with discovering the soul-jazz organist Richard "Groove" Holmes. And he was a gifted photographer whose portraits were anthologized in the acclaimed 2015 collection Invitation To Openness: The Jazz & Soul Photography Of Les McCann 1960-1980.

At the same time, McCann held a steadfast devotion to certain core principles, in music as in life. "The blues is definitely one of my major religions," he affirmed in a 1986 interview with Ben Sidran. "I mean, I like to think of whatever we do as something that's uplifting and giving to the world so that it's on the positive side, that is saying that we are here for a purpose. We are a part of this. We do count."

[rockmusicassoc]

In The Rock 5/4/1966: The King Curtis Band plays an Atlantic Records showcase at Harlem’s Prelude Club, featuring guitar players Cornell Dupree on lead, and a pre-“Jimi” Jimmy Hendrix, with special guests Percy Sledge, Wilson Pickett, Esther Phillips and more. #WickedWilsonPickett #JimiHendrix #RockHonorRoll

[howlingmoonradio]

February 20th Playlist

This week's episode, part of our month long feature of black musical genres, is guaranteed to put your backfield in motion, and take your mind off the bone-chilling temperatures so many of us have been dealing with recently. All sourced from the fab collection called "What It Is" which was released several years ago on Atlantic Records, there is some serious groove and funk vibes busting out all over. Turn it up and we dare you not to boogie a bit!

Side A Howling at the Moon-Hank Williams Chug, Chug, Chugalug (Push & Shove)-The Meters Everybody Wants to Get Rich Rite Away-Dr. John Everything I Do is Gonna Be Funky-Claudia Lennear Riding High-Faze O Fourplay-Fred Wesley & the Horny Horns Try it Again-Bobby Byrd Improve-Darrow Fletcher

Side B Moonshadow-Labelle Cajun Moon-Herbie Mann featuring Cissy Houston Flute Thing-Seatrain California Dreaming-Eddie Hazel If It Was Good Enough for Daddy-Clarence Reid Teasin'-Cornell Dupree Wanaoh-Black Heat Rien Ne Va Plus-Funk Factory

[favemusiclessons]

“A Change is Gonna Come” Motown/Soul guitar lesson. Double stops & advanced chord fills

Today's lesson is a big one! 30 minutes of chord based licks and double stop fills in that Motown, Soul and Blues style synonymous with Stax, Muscle Shoals, Steve Cropper, Curtis Mayfield, Cornell Dupree and Jimi Hendrix. We even chuck in a couple of Bill Frisell tricks along the way to jazz things up a touch. The powerful classic "A Change is Gonna Come" by Sam Cooke lends us it's chord progression for us to use as our training ground for applying all of these rhythm fills.

[whitedogqc]

裏ジャケやインナーを眺めながらレコードやCDを集めてきました。その中から、David T.Walker　Larry Carlton　Eric Gale　Cornell Dupree　松木 恒秀　山岸 潤史など、セッションギタリストのBluesy, Mellow, One And Only な歌心あふれる名演を紹介します。ギターや音楽が好きな方、是非聴いてみてください。（お酒のお供にも）

セッションギタリストの名演