Dark Queen Mantra, Celebrating Terry Riley at 80



Terry Riley (1935- ) turned 80 on June 24, 2015 and happily we are still celebrating this treasure of American music.  His iconic work “In C” (1964) is one of the defining works of the minimalist movement and Riley’s trippy album, “Rainbow in Curved Air” (1969) has also endured well.  But these works typify his early style and his work has evolved though his primary influences continue to be jazz and Hindustani music for the most part to a very personal style.

His discography boasts at least 30 albums and his compositions range from various chamber music pieces, solo and duo piano music, orchestral music, concertos and even music drama.  His influence on musicians is wide ranging and even includes that familiar intro to Baba O’Riley by the The Who (the title is actually an homage to Meher Baba and Terry Riley and that intro derives from Riley’s first Keyboard Study).  In recent years he has achieved much deserved success in collaboration with his son Gyan Riley who is a composer in his own right and an extraordinary guitarist.  Their collaborations have been a true highlight in both musicians’ careers.

This disc is a production from the truly wonderful Sono Luminus label whose recordings continue to set a high bar for production and excellence in sound as well as in intelligent programming.

Three works are presented here.  The first is Dark Queen Mantra (2015) for electric guitar and string quartet.  It is obviously the centerpiece and it is a fine work commissioned in honor of Riley’s 80th and written for the forces who perform it here. The amazing and versatile Del Sol Quartet and Gyan Riley seem a natural pairing.  These California based musicians seem to pour the whole of their artistic hearts and souls into this performance and Gyan Riley, a fine musician in his own right, always seems to be at his very best in his collaborations with his dad.  (Indeed anyone who had the pleasure of seeing their live sets can testify as to their beautiful musical intimacy.)

So it is we have a definitive recording of yet another fine piece from this beloved composer.  The choice to follow it with Mas Lugares (2003) by the late Stefano Scodanibbio (1956-2012) is an inspired and very appropriate choice (Riley was fond of this composer and helped promote his work).  Scodanibbio collaborated with Riley and recorded two albums with him (Lazy Afternoon Among the Crocodiles, 1997 and Diamond Fiddle Language, 2005).  This work for string quartet is dedicated to Luciano Berio and is a sort of deconstruction via the lens of the composer’s vision of madrigals by the early baroque master Claudio Monteverdi.  It is truly a joy to hear more of this composer’s music and this serves as a loving homage by the Del Sol and, by association, with Riley.

The concluding music is again by Terry Riley and it comes from the rich period of his collaboration with another set of fine California based musicians, the Kronos Quartet. They Wheel and the Mythic Birds Waltz (1983) first appeared on a Gramavision disc and this is a welcome reprise.  It is via his writing for the Kronos that Riley produced most of his string quartet writing and it is a fine repository for his compositional talents.

For its sound and its compositional and performance content this is one of the finest discs to come across this reviewer’s desk and it is a beautiful homage to Riley (father and son), the Del Sol Quartet, the Kronos Quartet and to the late Stefano Scodanibbio.  This is a gorgeous and deeply satisfying album.  Kudos to all.

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Oceanus Procellarum: Gareth Davis and Elliot Sharp


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I recall excitedly taking a class in college in the late 70s which dealt with post 1950 composition.  The professor emphasized that the reigning characteristic of this music is “pluralism”, that is to say that anything goes and one gets less useful information from labels like, “classical”, “baroque”, “romantic”, “post-romantic”, “post-modern”, etc.  There is no question that this maxim remains very true and we now are seeing composers well-versed in virtually every technique known to the world of composition.

This album is a fine example of such pluralism.  Seeing names such as Elliott Sharp and Gareth Davis one might expect something of the “free jazz” genre and that would not necessarily be an inaccurate description.  But it would fail to capture the wonderful writing for Ensemble Resonanz by the eclectic (yes, pluralistic too) Elliott Sharp.  As a composer Sharp draws on late twentieth century modern/post-modern compositional techniques along with a fair amount of his own creative innovations gleaned from his own experimentation and, no doubt, from his exposure to the wildly creative milieu of the Downtown New York scene of the 80s and 90s.

The result is like listening to shades of Penderecki and Xenakis as they wrote in the late 1950s though the 70s.  This is far more homage than derivation however and the achievement here is how well the soloists on guitar and bass clarinet fit into the work as a whole.  They fit remarkably well.

This could easily be called “Symphony for Ensemble with Obligatto Guitar and Bass Clarinet” or even Concerto if you like.  The point is that Sharp is an engaging composer whose works are very substantial.  From his beginnings on the New York Downtown scene with its mix of jazz, experimental and classical he has continued to explore and grow as a composer and that is what ultimately makes this release so compelling.

The musicianship here from Ensemble Resonanz, Sharp and Davis is of the first order and there is a certain sense of a tight fit such that, whatever may be improvised here sounds as though it were carefully written into this large orchestral fabric.  This is a powerful piece of music and repeated listenings will doubtless reveal more and more depth.  This is a very engaging piece.

Sharp is clearly evolving and growing as a composer and still hasn’t lost his marvelous collaborative and improvisatorial abilities.  This is a major work and a lovely recording.

 

 

 

Michala Petri Goes Brazilian


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Since her debut in 1969 at the tender age of 11 Danish born recorder virtuoso Michala Petri has been one of the finest masters of the recorder.  This ancient instrument, a forerunner of the flute, has existed since the Middle Ages and has amassed a huge repertoire and Petri seems to have demonstrated mastery over all of it and has been an advocate and promoter of new music for her instrument as well.  She has inspired composers to write new works for her and she continues to entertain audiences and has assembled an ever growing discography of startling range and diversity.  Nearly single handed she has managed to honor past repertoire and firmly ensconce this instrument in the 21st century.

In this release, produced by Lars Hannibal (himself a fine guitarist and frequent Petri collaborator) Petri takes on the music of Brazil and, despite the fact that recorders have seldom found their way into the music of this geographic region, she delivers a convincing and hugely entertaining program on this disc.  Along with Marilyn Mazur on percussion and Daniel Murray on guitar the listener is given an entertaining cross section of Brazilian music ranging from the more classically oriented work of Heitor Villa-Lobos (1887-1959) and Ernesto Nazareth (1863-1934) to the smooth jazz/pop sounds of Antonio Carlos Jobim (1925-1994) and Egberto Gismonti (1947- ).  In between are included works by the album’s guitarist Daniel Murray (1981- ) and a few names unfamiliar to this reviewer including Paulo Porto Alegre (1953- ), Paulo Bellinati (1950- ), Hermeto Pascoal (1936- ), and Antonio Ribero (1971- ).

There is a remarkable unity in this Danish production which stems from a meeting between producer Lars Hannibal and Daniel Murray in Vienna in 2014.  Hannibal’s ear found a kindred spirit whose musicality is a good match for that of Petri.  And like a good chef he added the delicate and necessary spice of the tastefully understated (but extraordinary) percussionist Marilyn Mazur to create a unique trio that sounds as though they’ve played together for years.  Here’s hoping that they’ve secretly recorded enough material for a second album.

All the tracks appear to be transcriptions though the transcriber is not named (I’m guessing they’re collaborative).  What’s nice is that there is nothing artificial or uncomfortable about these arrangements.  The overall impression left is that of a skilled ensemble and listeners encountering the original forms of these works might well assume those to be the transcriptions.  So convincing are these performances.

One last thing.  The sound.  This super audio CD release was engineered by Mikkel Nymand and Preben Iwan and the sound is fabulous.  I don’t have a machine that can read the super audio tracks on this hybrid disc but what I can hear is a lucid recording which embraces the subtleties of this unique ensemble.  Enjoy!

Oakland Raga Mini With Tempeh


David Boyce, saxophones and Sameer Gupta, tablas at Sound and Savor

Vegan chef and shakuhachi player Philip Gelb’s dinner/concerts have been one of the great joys of the east bay for over ten years now.  Regular readers of this blog will be familiar with my enthusiasm for this series.  Once again Gelb has woven magic in his impeccably creative vegan cuisine and his ability to attract astoundingly talented musicians.


I had to steal this photo from Phil’s Facebook page because I got so caught up in the fine conversation and food that I forgot to take pictures of any of the five courses except for the dessert.


Four wonderful food courses preceded the musical segment of this evening beginning with a hearty soup followed by some deliciously roasted brussel sprouts and the main course of vegan mac and cheese with deep fried tempeh.

Here is the menu:

“Cheesy” broccoli chowder (practically a meal in itself).

Roasted brussel sprouts with scallion ginger oil.  

Southern Fried Tempeh, Macaroni and “cheese” with stewed greens, black eyed peas, Cajun roasted cauliflower, pickled daikon with Meyer lemon and mango chutney (pictured above but must be tasted to be believed, excellent!)

Chocolate waffle bowls withsoursop coconut ice cream, mango ice cream, blood orange marmalade, pineapple sauce and maple walnuts (all vegan and sinfully delicious)
As is customary in these events the musicians played just before dessert was served.  A word about these musicians.  Sameer Gupta , now heading up the wonderfully creative fusion ensemble Brooklyn Raga Massive hails from San Francisco.  David Boyce is originally from New York but is now based in the Bay Area, has appeared on numerous recordings and his band, The Supplicants, can be heard in the Bay Area.  Both are seasoned and extremely creative musicians.

Gupta began first by tuning his four drums (instead of the customary two found in most Hindustani music) and created bell like sounds as well as a rhythmic pulse before Boyce entered with his mellifluous sax.  The music, clearly informed by melodic jazz and by traditional Hindustani elements took off in a high energy duet and became a unique and wonderful music which clearly energized the audience.  The two had played together before though not in this particular configuration.  

Here is a short video sample:

 


Three improvs were performed, one each with Boyce on soprano sax, tenor sax and bass clarinet.  This unusual duo pairing sounded remarkably comfortable.  They have performed together before and one could sense it in how well they meshed their individual styles.

The audience was understandably enthusiastic and appreciative after each performance.  The combination of these fine musicians, clearly enthused about their music, and the intimate setting of this West Oakland loft made for a powerful experience, among the best this writer has heard in this venue.

Also worthy of mention was the amicable atmosphere with friendly interesting fellow diners, a common experience in this series.  

Gupta and Boyce enjoying the vegan ice cream dessert after their performance.

Missed this one?  There is another dinner concert featuring Mitch Butler on trombone and Howard Wiley on saxophone on Wednesday March 15th.  Menu not yet announced.  I hope you can make it.  

Tickets are at:  https://eventium.io/events/393278541021381/mitch-butler-howard-wiley-dinner-concert-march-15-2017

Ken Thomson’s Restless: a Feast of New Chamber Music


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Ken Thomson is one of the rapidly rising stars of the New York music scene and beyond. His involvement with his group Slow/Fast which includes Ken Thomson, Russ Johnson, Nir Felder, Adam Armstrong and Fred Kennedy as well as Bang on a Can and others in the new music/new jazz community demonstrates his level of drive.  Thomson is a saxophone player and a composer.

The present album showcases his talents as a composer and are different than what I had expected from a musician with roots in free jazz and with saxophone as his principal instrument.  This is a set of two suites in the classical manner, a collection of movements. They do not appear to have any direct influence from jazz but rather they are quite clearly in a classical new music vein.

The first, Restless (2014) is a four movement piece for cello and piano.  It could have been called a sonata for all its complexity and development.  It is a lyrical and very listenable piece which is restless at times (though I think the title actually suggests multiple meanings) and loaded with fascinating musical ideas.  The writing for both the cello and the piano are apparently technically challenging but both are handled very well by Ashley Bathgate (cello) and Karl Larson (piano).  This disc is worth the price if only for the fantastic musicianship of these performers.

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Ashley Bathgate (cellist) and Karl Larson (pianist) (Photo by Gabriel Gomez, all rights reserved)

The three movement suite, Me vs. (2012) is a pianistic tour de force that makes great use of various pianistic effects involving judicious use of the sustain pedal and the creation of after image type effects which allow the harmonics to vibrate on strings not struck by the keys.  Again the nod to a basic three movement classical piano sonata with a complex first movement followed by a lyrical slow movement and a spritely virtuosic finale which resembles a moto perpetuo.

More about the internal dialogue that went on in the composer’s head is available in his commentary but this music doesn’t really require much explanation.  It is pretty clear and very effective music.  This is simply a wonderful recording of some fascinating new music.

Black Notes Matter: Lara Downes’ America Again


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Sono Luminus DSL-92207

The lovely cover photo for this album by San Francisco born pianist Lara Downes is reminiscent of any number of socially conscious folk/rock stars of the 60s and 70s. It would seem that this is no accident.  This delightful album of short pieces by a wide variety of American composers takes its title from the Langston Hughes (1902-1967) poem, Let America Be America Again (1935).  By so doing the pianist places this interesting selection of short piano pieces firmly in the context of black racial politics and the artistic expression of black America as well as those influenced by this vital vein of American culture (both musical and literary).  It is a graceful and deeply felt effort and I hope that the metaphor of the title of my review is not too tortured a one to reflect that.

This is also a very personal album.  Downes seems to share some deeply felt connections with her materials.  This artist, born to a white mother and a black father, invokes a careful selection of short piano pieces steeped sometimes in jazz and blues but also the political directness (and optimism) which was characteristic of the inter-war years that brought forth the Hughes poem.  There is both sadness and celebration in these virtuosic and technically demanding little gems (most apparently recorded for the first time or at least the first time in a while).  The pianist’s comments on each individual piece are also critical to the understanding of this disc as she shares the impact and meaning that the music has had for her.

There are 21 tracks by 19 composers in all and the selections themselves are quite a feat. They range from the 19th to the 21st centuries and are composed by both men and women of a variety of racial and ethnic backgrounds.  All seem to share the sort of  populist charm befitting the idealized America yearned for in the poem which is to say that they represent a kind of idealized or hopeful nationalism.  Downes is well acquainted with a large variety of American music and recognizes no distinction between classical and so-called “vernacular” traditions.

In fact none of these things are atypical for this artist.  Her previous albums Exiles Cafe (2013) featured music by composers exiled from their homelands, A Billie Holiday Songbook (2015) celebrated the life of this iconic black artist and her American Ballads (2001) demonstrated her deep mastery and affection for populist (but not jingoistic) nationalism.  Her tastefully issue oriented albums define a very individual path and the present album appears to be a very logical and well executed next entry into her discography.

This disc shares a similar heritage to that of Alan Feinberg’s four discs on Argo/Decca entitled, The American Innovator, The American Virtuoso, The American Romantic and Fascinating Rhythm: American Syncopation.  Another notable antecedent is Natalie Hinderas’ groundbreaking two disc set of music by African-American composers.

And now on to the music:

Morton Gould (1913-1996) was a Pulitzer Prize winning composer and conductor with a style informed by his study of jazz and blues in a vein similar to that of Bernstein and Copland.  He is represented here by American Caprice (1940).

Lou Harrison (1917-2003)  was a composer, conductor and teacher.  He was a modernist and an innovator in the promotion of non-western musical cultures.  His New York Waltzes (1944-1994) are three brief essays in that dance form.

The traditional folk song Shenandoah (apparently in the pianist’s transcription) is next.   This tune will be familiar to most listeners as a popular selection by choral groups and the melody is a common metaphor for things American.

Amy Marcy Cheney Beach (1867-1944) was one of the first successful female American composers.  Her “From Blackbird Hills” Op. 83 (1922) is representative of her late romantic style and her incorporation of Native American (Omaha) elements in her music.

Samuel Coleridge-Taylor (1875-1912) is a English composer with Creole roots, a black composer, known as the “African Mahler” in his day.  Deep River (1905) is his setting of this spiritual which also was one of Marian Anderson’s signature pieces.

Dan Visconti (1982- ) was commissioned by the International Beethoven Festival to write his Lonesome Roads Nocturne (2013) for Lara Downes.  It receives its world premiere recording in this collection.

Swiss-American composer and teacher Ernest Bloch (1880-1959) is certainly deserving of more attention.  His At Sea (1922) is used here to represent the sea voyages of the many immigrants (willing and unwilling) whose journey defined in part who they were.

George Gershwin (1898-1937) mastered both the vernacular tradition (as one of the finest song writers of the 20th Century) and the classical tradition in his too few compositions written in his sadly abbreviated life.  His opera Porgy and Bess (1935) is contemporary with the Langston Hughes poem mentioned earlier.  Downes most arrestingly chooses the arrangement of “I loves you, Porgy” by the classically trained iconic singer, musician and civil rights activist Nina Simone (1933-2003).  Quoting from Downes’ notes (Nina Simone expresses what she knew) “…about being a woman, being black and about being strong and powerless all at the same time.”  Indeed one of the most potent lines of the Hughes poem reads, “America was never America to me.”

Angelica Negrón (1981- ) was born in Puerto Rico and  now lives and works in New York. Her Sueno Recurrente (Recurring Dream, 2002) is a lovely little nocturne which is here given its world premiere.

Leonard Bernstein (1918-1990) held credentials as composer, conductor, teacher and ardent civil rights supporter.  His Anniversary for Stephen Sondheim (1988) is one of a series of Anniversary piano pieces he wrote.  Bernstein did much to help modern audiences (including this reviewer) comprehend the vital musicality of jazz and blues. Like Downes, he drew little distinction between popular and classical and celebrated all the music he believed was good.

David Sanford (1963- ) is a trombonist, teacher and composer who works in both classical and jazz idioms.  His work Promise (2009) was written for Downes and this is the world premiere recording.

Howard Hanson (1896-1981) was a conductor, teacher and Pulitzer Prize winning composer (though not at all an advocate of ragtime, jazz or blues).  His brief but lovely piano piece Slumber Song (1915) is a nice discovery and one hopes that it will be taken up by more pianists.

Scott Joplin (1867/68-1917) was discovered largely due to the scholarship and recordings of musicologist Joshua Rifkin (who incidentally did some arrangements for folkie Judy Collins) whose three volumes of piano rags on Nonesuch records introduced this wonderful black composer’s work to a wider audience once again.  Marvin Hamlisch famously incorporated Joplin’s music into his score for the motion picture The Sting (1973).  Downes chooses the Gladiolus Rag (1907) to represent this composer.

Irving Berlin (born Israel Isidore Baline 1888-1989) is another of the greatest song composers this country has produced.  In another characteristically clever choice Downes chooses the arrangement of this hugely optimistic song, “Blue Skies”(1926) by the great jazz pianist Art Tatum (1909-1956).

Florence Price (1887-1953) was a black female composer (the first to have one of her orchestral works programmed by a major symphony orchestra) whose work is only recently getting some much needed exposure.  Her Fantasy Negre (1929) is based on a spiritual, “Sinner, Please Don’t Let This Harvest Pass”.  Price was involved in the New Negro Arts Movement of the Harlem Renaissance and was professionally connected with Langston Hughes among others.

Aaron Copland (1900-1990) is perhaps the most iconic American composer.  Dubbed the “Dean of American Composers” his earliest work has strong jazz influences and his later work created the American romantic/nationalist sound incorporating folk songs and rhythms.  For this recording the artist chose the first of the composer’s Four Piano Blues (1926) which also appeared on her 2001 album of American Ballads.

Edward Kennedy “Duke” Ellington (1899-1974) was a composer and band leader whose sound virtually defined the Harlem Renaissance during his tenure at the famed Cotton Club.  Melancholia (1959) is the piece chosen here, again a nice little discovery.

Roy Harris (1898-1979) was, like Copland, a populist but the Oklahoma born composer studied Native American music as well as American folk songs.  His American Ballads (1946) was included on Downes’ American Ballads album.  Here she includes an unpublished work from a projected (but never finished) American Ballads Volume II.  This piece is a setting of the spiritual, “Lil Boy Named David”.

The album concludes with one of the ultimate hopeful dreamer songs, Harold Arlen’s (1905-1986) Over the Rainbow (1939) from his score for The Wizard of Oz (1939).  The adolescent yearning of Dorothy for something better than her dust bowl farm life touched a chord in many over the years and it is a fitting conclusion to this beautiful and hopeful collection.

As mentioned earlier the insightful liner notes by Lara Downes complement this production and tactfully position its politics.  She shares a personal journey that is as American as the proverbial apple pie.  The album is dedicated to the artist’s ancestors in recognition of their struggles as well as to her children in hopes that dreams for a better future can become their reality.

This beautiful sound of this album is the result of work of Producer Dan Merceruio and Executive Producer Collin J. Rae along with Daniel Shores and David Angell.  The lovely photography is by Rik Keller and as with the previous release Skylark: Crossing Over (reviewed here) the graphic design by Caleb Nei deserves special mention for its ability to truly complement this disc.

It is scheduled for release on October 28, 2016.

 

 

 

 

 

 

 

 

A shamanic effort to raise consciousness and further socially progressive ideas.

The Anniversary That (almost) Everyone Missed: Bill Doggett (1916-1996), Wizard of the Hammond Organ


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Bill Doggett with his combo (getty images)

William Ballard Doggett, better known as Bill Doggett was born in Philadelphia in 1916 and was introduced to music by his church pianist mother.  He played in a combo while still in high school and went on to work with a plethora of stars in rock, jazz, rhythm and blues amassing a string of hits but, sadly, seems to have barely been noticed on this the 100th anniversary of his birth.  Where is NPR at a time like this?

Well, all is not lost.  Fortunately his nephew and namesake Bill Doggett is doing justice to the memory of this important American musician.  This younger Doggett is an archivist, lecturer, curator, strategic marketer, photographer, filmmaker, and arts advocate (his website is well worth your time).  I am hardly as well prepared to provide more than an overview of this musician’s work but I feel obliged to do my small part in recognizing this man’s work.

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Promotional poster for the September 28, 2016 centennial celebration curated by nephew and namesake, Bill Doggett.

Doggett’s list of chart singles:

  • “Be-Baba-Leba” (vocal by Helen Humes) (Philo/Aladdin 106) 1945 (#3 R&B)
  • “Moon Dust” 1953 (#18 R&B)
  • “Early Bird” 1953 (#21 R&B)
  • “No More In Life” 1953 (#20 R&B)
  • “High Heels” 1954 (#15 R&B)
  • “Honky Tonk, Part 1″/”Honky Tonk, Part 2” (King 4950) 1956 (#1(14) R&B/#2(3) Pop)
  • “Slow Walk” (King 5000) 1956 (#4 R&B/#19 Pop)
  • “Ram-Bunk-Shush” (King 5020) 1957 (#4 R&B)
  • “Soft” 1957 (#11 R&B)
  • “Leaps And Bounds, Part 1″/”Leaps And Bounds, Part 2” (King 5101) 1958 (#13 R&B)
  • “Blip Blop” 1958 (#11 R&B)
  • “Hold It!” (King 5149) 1958 (#3 R&B)
  • “Rainbow Riot, Part 1″/”Rainbow Riot, Part 2” (King 5159) 1959 (#15 R&B)
  • “Monster Party” (King 5176) 1959 (#27 R&B)
  • “Yocky Dock, Part 1″/”Yocky Dock, Part 2” (King 5256) 1959 (#30 R&B)
  • “Honky Tonk, Part 2” 1961 (#21 R&B)

 

  • doggetthonky

    Doggett’s best known work.

While his last chart hit was 1961 his collaborations with  Lucky MillinderFrank FairfaxJimmy Mundythe Ink SpotsLouis JordanJohnny Otis, Wynonie Harris, Ella Fitzgerald, Louis Armstrong, Count Basie,  Lionel HamptonRed Holloway, Clifford Scott, Percy France, David “Bubba” Brooks, Clifford Davis, and Floyd “Candy” Johnson; guitarists Floyd Smith, Billy Butler, Sam Lackey and Pete Mayes; and singers Edwin Starr, Toni Williams and Betty Saint-Clair attest to the scope of his work.  Doggett continued to play and arrange until his death from a heart attack in New York in 1996 at the age of 80.

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Bill Doggett photographed in France in 1980 by Lionel Decoster (from Wikipedia article)

The Hammond Organ is known for being the workhorse of modern classical as well as rock, rhythm and blues and jazz.  It was Bill Doggett who became one of the early masters of this (then new) electronic instrument.  While he was also a highly competent pianist, it was with the Hammond Organ that he had his greatest success. There is little doubt that his playing has influenced subsequent musicians who took on this instrument.

Here’s hoping that astute musicians and producers will take on the task of recognizing the work of the late great Bill Doggett.  Toward that end here, from Wikipedia, is a discography of his work:

10 inch LPs

  • Bill Doggett: His Organ And Combo, Volume 1 King 295-82 (1954)
  • Bill Doggett: His Organ And Combo, Volume 2 King 295-83 (1954)
  • All Time Christmas Favorites King 295-89 (1954)
  • Sentimentally Yours King 295-102 (1955)

12 inch LPs (on King Records)

  • Moon Dust King 395-502 (1956)
  • Hot Doggett King 395-514 (1956)
  • As You Desire Me King 395-523 (1956)
  • Everybody Dance The Honky Tonk King 395-531 (1956)
  • Dame Dreaming With Bill Doggett King 395-532 (1957)
  • A Salute To Ellington King 533 (1957)
  • The Doggett Beat For Dancing Feet King 557 (1957)
  • Candle Glow King 563 (1958)
  • Swingin’ Easy King 582 (1958)
  • Dance Awhile With Doggett King 585 (1958)
  • 12 Songs Of Christmas [reissue of King 295-89 plus 6 additional tracks] King 600 (1958)
  • Hold It! King 609 (1959)
  • High And Wide King 633 (1959)
  • Big City Dance Party King 641 (1959)
  • Bill Doggett On Tour [this is NOT a live album] King 667 (1959)
  • For Reminiscent Lovers, Romantic Songs By Bill Doggett King 706 (1960)
  • Back With More Bill Doggett King 723 (1960)
  • The Many Moods Of Bill Doggett King 778 (1962)
  • Bill Doggett Plays American Songs, Bossa Nova Style King 830 (1963)
  • Impressions King 868 (1963)
  • The Best Of Bill Doggett [compilation] King 908 (1964)
  • Bonanza Of 24 Songs [compilation] King 959 (1966)
  • Take Your Shot King 1041 (1969)
  • Honky Tonk Popcorn King 1078 (1970)
  • The Nearness Of You King 1097 (1970)
  • Ram-Bunk-Shush [compilation] King 1101 (1970)
  • Sentimental Mood [compilation] King 1104 (1970)
  • Soft [compilation] King 1108 (1970)
  • 14 Original Greatest Hits [compilation; reissued as ‘All His Hits’] King-Starday 5009 (1977)
  • Charles Brown: PLEASE COME HOME FOR CHRISTMAS [this vocal album includes 4 instrumental tracks by Bill Doggett] King-Starday 5019 (1978)

12 inch LPs (on other labels)

  • 3,046 People Danced ‘Til 4 A.M. To Bill Doggett [this is a live album] Warner Bros. WS-1404 (1961)
  • The Band With The Beat! Warner Bros. WS-1421 (1961)
  • Bill Doggett Swings Warner Bros. WS-1452 (1962)
  • Rhythm Is My Business (Ella Fitzgerald with Bill Doggett) Verve V6-4056 (1962)
  • Oops! The Swinging Sounds Of Bill Doggett Columbia CL-1814/CS-8614 (1962)
  • Prelude To The Blues Columbia CL-1942/CS-8742 (1962)
  • Finger-Tips Columbia CL-2082/CS-8882 (1963)
  • Wow! ABC-Paramount S-507 (1964)
  • Honky Tonk A-La-Mod! Roulette SR-25330 (1966)
  • The Right Choice After Hours/Ichiban 4112 (1991) Note: this is Bill’s last recorded album of original material; also released on CD.

OK all you producers, have at it.