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Jump blues is an up-tempo style of blues, jazz, and boogie woogie usually played by small groups and featuring horn instruments. It was popular in the 1940s and was a precursor of rhythm and blues and rock and roll. [2] Appreciation of jump blues was renewed in the 1990s as part of the swing revival.
Cold Snap is an album by the American blues musician Albert Collins, released in 1986. [1] [2] The album was nominated for a Grammy Award in the "Best Traditional Blues Recording" category. [3] Collins supported the album with a North American tour. [4]
The Chicago Tribune wrote: "Lively Texas jump blues (fleshed out by a hot big-band-styled horn section and Brown's delightfully idiosyncratic guitar and violin work) is at the heart of the album, but the always eclectic Brown mixes it up with some sweet slow blues, a bit of funk, even a country ballad."
Wilson's slash and burn guitaring is a breath of fresh air at a time when a generation of tepid teen players are being taken seriously as blues musicians." [ 12 ] The Washington Post stated that "thick, punchy horn riffs dominate nearly every song and force Wilson to sharpen the edge on his lead-guitar licks and to pump up his hollering vocals ...
Here is the track list for Orgy of the Damned: “The Pusher” feat. Chris Robinson (vocal and harmonica) “Crossroads” feat. Gary Clark Jr. (vocal, rhythm guitar, and solo)
A 1968 review in Record Mirror stated that on this album the band's blues sound has "hardened" with "stronger" and "more confiden[t]" vocals. [6] The reviewer said the tracks' accompaniments are "clear and well recorded" with "clever" arrangements, although he preferred their own material to some of the covers they did, like "One More Heartache ...
Horn section of Ojos de Brujo. Horn sections are an integral part of musical genres such as jazz, R&B, blues, soul, funk, calypso, Afrobeat, and gospel. Most of these horn sections feature some combination of saxophones, trumpets and trombones. More rarely, other wind or brass instruments such as flute, clarinet or tuba may be added.
The melody derived from band members' riffs—Basie rarely wrote down musical ideas, so Eddie Durham and Buster Smith helped him crystallize his ideas. The original 1937 recording of the tune by Basie and his band is noted for the saxophone work of Herschel Evans and Lester Young, trumpet by Buck Clayton, Walter Page on bass, and Basie himself on piano. [1]